tag:blogger.com,1999:blog-63177656945295073772024-03-05T22:27:16.335-05:00Lincoln in ClevelandLincolnhttp://www.blogger.com/profile/02263987740812117688noreply@blogger.comBlogger583125tag:blogger.com,1999:blog-6317765694529507377.post-57940574644428944782015-04-18T22:53:00.000-04:002015-04-18T22:53:07.048-04:00The Cleveland Orchestra: All-French - Ravel's BoleroRavel: <i>Le Tombeau de Couperin</i>, op. 35<br />
Saint-Saens: <i>Cello concerto no. 1 in A minor</i>, op. 33 (Gautier Capucon, <i>cello</i>)<br />
Schmitt: <i>La Tragedie de Salome </i>symphonic suite.<br />
Ravel: <i>Bolero</i>.<br />
Lionel Bringuler, <i>conductor</i>.<br />
<br />
As you may have noted, I've become far more selective with my Cleveland Orchestra attendance -- and bank account has certainly reaped the rewards but the side effect is it felt a little weird coming back to Severance tonight.<br />
<br />
As of intermission, though, I was quite satisfied with my choice, and this was the most enjoyable Cleveland Orchestra concert from recent memory. On the beginning of this Ravel-sandwich of a program, his Le Tombeau de Couperin (Memorial to Couperin) was pure delight from the first movement that evoked the energy of an bustling European city with an art deco lens, while the second and third movements captured a more suburban spring feeling, perhaps with the stereotypical 50s housewife and children, before the festive and insistent final movement.<br />
<br />
The clear imagery of the first piece on the program was countered by the second - Saint-Saens first cello concerto. While it was musically unobjectionable (and for the first time I found myself thinking, "Wow, this piece sounds French" [after having forgotten the "All French" title attached to the program) it didn't make a strong connection with me as far as emotion or imagery.<br />
<br />
Likewise, Schmitt's symphonic suite from <i>La Tragedie de Salome</i> struck me as distinctly French and and a nice energy to it but didn't really connect with me.<br />
<br />
As we reached the bottom of the Ravel sandwich the impossible-not-to-love <i>Bolero</i> closed out the program and as much as I tried to sit still I couldn't help tapping my fingers or toes (once I stopped one, I involuntarily started doing the other before finally admitting defeat and letting go to the musical pulse.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20150418" /> <div class="blogger-post-footer"><script type="text/javascript">
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Scarlatti: <i>Sonatas K. 239, K.87 and K.27</i><br />
Bach: <i>Suite BVW 997</i><br />
Aguado: <i>Andane and Rondo No. 3</i><br />
Piazzolla: <i>Cuatro Estaciones Portenas</i><br />
Gianastera: <i>Sonata Op. 47</i><br />
At Herr Chapel, Plymouth Church UCC, Shaker Heights<br />
<br />
Rachel and I are back from Paris, and I'm just back from a trip to Orlando and I'm delighted to see that Spring is finally arriving in Cleveland. With the beginnings of spring, comes the last concert of Cleveland Classical Guitar Society's final concert of the 14-15 Intentional Series. Tonight's concert rook place in Herr Chapel, a more intimate venue than the main sanctuary that has hosted the previous concerts.<br />
<br />
The first piece on the program, <i>Variacones Sobre</i>, was also one of my favorites with a light and soothing air where I just closed my eyes for the majority of the piece and let the notes settle on my ears, perfect as the daylight faded. Following were three sonatas composed b Scarlatti; the first reminded me of a busy European street scene, while the later seemed more somber and lonely. The Bach Suite, the last before intermission, though musically interesting, unlike the earlier pieces was more abstract and difficult for me to relate to specific emotions.<br />
<br />
Following intermission, Aguado's <i>Adante and Rondo No. 3</i> was inspired by the musical themes of the day in the early 19th century, but like the piece that preceded it, I had a hard time forming a specific relationship to it.<br />
<br />
The next piece though, <i>Cuator Estaciones Portenas </i>with four movements and originally for a five piece band, was delightful and relatable, though somewhat muddy early in the piece, it took on a marching, almost militant feeling in the middle and a lively feeling with a good beat at the end of the piece.<br />
<br />
The last piece on the published program, Ginastera's Sonata Op. 47, featured what seemed to be a quite a bit of unusual technique and skill, but didn't really captivate me.<br />
<br />
The encore, on the other hand, "Carillon" (I didn't catch the Italian composer's name) had a heartbeat combined with amazing subtlety, and Rachel commented that the sound reminded her of a hammered dulcimer.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?cgs+21050411" /><div class="blogger-post-footer"><script type="text/javascript">
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<br />
This morning we awoke, lounged for a bit, visited an ATM (BNP Paribas is in Bank of America's Global ATM network -- so no fees for me) in the next building over to restock our cash supplies, along the way encountering the happiest little ATM I've seen -- why can't American ATMs have personality?<br />
<br />
Cash in hand we headed out to <a href="http://en.wikipedia.org/wiki/Centre_Georges_Pompidou" target="_blank">Centre Pompidou</a> and explored the exhibits for a bit -- while enjoyable, nothing really screamed "love me" or "commit me to memory" -- I'm glad we went, though.<br />
<br />
Following our visit, we attempted to get our "Required Foreign McDonald's Visit" (RFMDV) in but were faced with a kiosk that -- despite claiming to speak English, was wholly intuitive and we couldn't figure out how to actually access the menu (any attempt to dismiss the "special offers" just resulted in it asking for us to insert our credit card). Since we were in an area that seemed to have an abundance of restaurants, we decided to postpone the RFMDV and perused a couple menus before finding a tiny little restaurant that sounded good... and in fact was good.<br />
<br />
We returned to the hotel to drop off our souvenirs and decided while we were playing tourists that we would go out to Marne-la-Vallee to visit the entrance to Disneyland Paris. Though not quite tourist enough to actually spring for the admission, we did visit the gift shop. [Some day I think I'd like to visit the parks, however, having grown up in original Disneyland territory and having plenty of other Parisian sites to see... visiting this park will wait for a future visit.<br />
<br />
We stopped by a Monoprix (Supermarket meets Kohls is the best comparison I can come up with at the moment) purchased some snacks and more or less promptly collapsed into bed<br />
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Lincoln <div class="blogger-post-footer"><script type="text/javascript">
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<br />
Since the photos below ground didn't really turn out (and let's be honest, do you really want to see someone else's raw excrement floating on a rapidly moving without also having the experience of smelling it), here's a photo taken across the bridge from the entrance -- the Flame of Liberty with the Eiffel tower in the background -- according to <a href="http://en.wikipedia.org/wiki/Flame_of_Liberty" target="_blank">Wikipedia</a> it's a full-size replica of the flame in the hand of the Statute of Liberty<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd7WyPZ_ACT3QgOZXoZFWSE8iusum-Zpw5TcBaPDHJtGZyfpe2SEyOBK1cN-cnn2r6W8dr3ts69BgdvcQ9_tECtJxfrHZakUzfXzmh2T1nEiee4d5e-WdyGE2SI3_R6H5g2_DD-F3P0ZLi/s1600/IMG_20150322_121546330_HDR_Crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd7WyPZ_ACT3QgOZXoZFWSE8iusum-Zpw5TcBaPDHJtGZyfpe2SEyOBK1cN-cnn2r6W8dr3ts69BgdvcQ9_tECtJxfrHZakUzfXzmh2T1nEiee4d5e-WdyGE2SI3_R6H5g2_DD-F3P0ZLi/s1600/IMG_20150322_121546330_HDR_Crop.jpg" height="320" width="255" /></a></div>
<br />
We found lunch at a small cafe slightly off the tourist beaten path but with the Eiffel Tower lurking in the distance and setting out for our second underground experience of the day -- a fair distance away -- the <a href="http://en.wikipedia.org/wiki/Catacombs_of_Paris" target="_blank">Catacombs de Paris</a>, an immense subterranean network of caves re-purposed centuries ago to hold intricately stacked bones from deconsecrated cemeteries taken over by the needs of the living in an expanding Paris of the time.<br />
<br />
This attraction was the first time we encountered a major queue during our visit -- waiting about an hour above ground to get through the turnstile to get below ground. Though I have a weak stomach generally, I was really surprised that I wasn't really affected by seeing thousands of bones, skulls, and the like stacked so carefully on both sides of a passage that at times seemed like it would never end. It is interesting to consider that these bones have been lying in place here for in some cases over two hundred years.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG6nOjZz1CaAy_9bUQDnWDh5Zeu8sG5PchUeWt6qfGMYHSE-kxDeYWbO-N8InEXQXZsBrfWyve_DXWiGzH8YNsgxFCAoHhjKcH7g1l-zzJmJQ0Bu9_1Wc4Ra0WQ5a9q1ZybwY48euzzSpN/s1600/IMG_20150322_161114555.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG6nOjZz1CaAy_9bUQDnWDh5Zeu8sG5PchUeWt6qfGMYHSE-kxDeYWbO-N8InEXQXZsBrfWyve_DXWiGzH8YNsgxFCAoHhjKcH7g1l-zzJmJQ0Bu9_1Wc4Ra0WQ5a9q1ZybwY48euzzSpN/s1600/IMG_20150322_161114555.jpg" height="320" width="180" /></a></div>
<br />
After we left the home of the dead and returned above ground to the land of the living we walked some side streets before finding ourselves back at the RER/Metro station that delivered us to this neighborhood and decided that -- with a distinct chill and ominous clouds in the air -- that we would return to the hotel and find something to snack on along the way.<br />
<br />
Lincoln<div class="blogger-post-footer"><script type="text/javascript">
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<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJPAOFEl783GLM1fVcg-1iQ8B2CynHVSbXNNGA6spe5Dknpv44gJHCOt1QDJXx5_HoaZxGVkHXwgdvzTN4ENy_moOz5yF2JG-vouQ77XXME_Rs6rZXcLVAucqtube5ru2qdtvDclsqI4BW/s1600/tour+eiffel.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJPAOFEl783GLM1fVcg-1iQ8B2CynHVSbXNNGA6spe5Dknpv44gJHCOt1QDJXx5_HoaZxGVkHXwgdvzTN4ENy_moOz5yF2JG-vouQ77XXME_Rs6rZXcLVAucqtube5ru2qdtvDclsqI4BW/s1600/tour+eiffel.jpg" height="320" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Eiffel Tower This Morning</td></tr>
</tbody></table>
Getting ready and heading out we discovered the entire city covered in fog, or as it may more accurately be, smog. Pollution levels were reported to be so bad that officials declared public transit would be free for this weekend to discourage driving. It was incredibly cold but uneventful as we made our way from <a href="http://en.wikipedia.org/wiki/La_D%C3%A9fense" target="_blank">La Defense</a> to La Tour Eiffel and had a fascinating tour of the elevator machinery along with other elements of the tower's history (Including the colors that it's been over the years, from red to army green to today's gray).<br />
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Our tour included an elevator ride to the 2nd platform of the tower which had spectacular perspective -- but thanks to the (f|sm)og, it was impossible to see more than a few blocks in any direction [l'arc de triomphe was faintly visible in the background], so Rachel and I decided to postpone buying a ticket to the top of the tower.<br />
<br />
Owing to the haze and cool temperatures, we returned to the hotel to drop off our souvenirs and see if we had any warmer clothing with us (I was cursing my refusal to pack any kind of headwear because it "won't be that clod"). Along the way we stopped by "Quick" for lunch where a multilingual kiosk allowed us to order without embarrassment and enjoy a quick bite to eat. Adjacent to the hotel, we stopped into a market called Monoprixe -- I was planning on buying a Coke, but I was shocked to discover they had Mountain Dew (my morning caffeine of choice -- which I was not expecting to find in France) although the taste more of sugar water than the flavor of the American variety. <br />
<br />
After a brief respite in our room, we noticed that the haze was lifting and the temperature warming so we decided to explore our environs -- our hotel, the Hilton Paris-La Defense, is directly adjacent to <a href="http://en.wikipedia.org/wiki/Grande_Arche" target="_blank">La Grande Arche de la Défense</a>, so we started by walking that area and climbing the immense stairs at the mouth of the arch -- and from there we noticed that the Arc de Triomphe visible and the haze nearly entirely lifted.<br />
<br />
Hopping on an RER A train it was a quick underground ride to the station and emerged to find the arc directly in front of us.. and we quickly decided to shell out the 9.50 euros for the climb to the top... and boy can you feel the thighs burn after ascending the 150+ feet of stairs to the peak, but the views from the top were well worth it.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ840bxccGouRcnN2QrvyxpwJ49AldpkkV9UTtv8uZYFm5rs702M60_VHwnyy1z1WJgSOoGRobQsJXNfaAZbJhpgk5ZhU3v-JGC4e7J68leAdfBK7yiC_DgUIP2g_sHPRI2RgnjZkdHvbb/s1600/IMG_20150321_150105499.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ840bxccGouRcnN2QrvyxpwJ49AldpkkV9UTtv8uZYFm5rs702M60_VHwnyy1z1WJgSOoGRobQsJXNfaAZbJhpgk5ZhU3v-JGC4e7J68leAdfBK7yiC_DgUIP2g_sHPRI2RgnjZkdHvbb/s1600/IMG_20150321_150105499.jpg" height="151" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Click for Large) Panorama from the top of the Arc de Triomphe -- La Grande Arche and our hotel is at the end of the Avenue Charles de Gaulle (Center) </td></tr>
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Working our way down from the top, we decided to try walking Avenue Charles de Gaulle back to our hotel and it was a very pleasant 5.1km (~3.16 mile) walk with plenty of scenery along the way, including a chocolateir that was almost too much to resist and a bakery that proved too much to resist.<br />
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[The hotel internet connection is a bit spotty so I apologize for not having more photos] <br />
<br />
Lincoln<div class="blogger-post-footer"><script type="text/javascript">
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Last year's trip was to London and I loved every minute of it. (Honestly, I could see myself living there and it quickly displaced Manhattan (NYC) as my #1 "If I could live anywhere and money was no object..." -- this year, leading up to our departure I was more than a little nervous, largely owing to my complete lack of proficiency with French (or any language other than English for that matter).<br />
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Despite having taken a year of French in High School and two or three semesters of French in college, 'Excusez-moi, je ne parle pas bein francais" remains the only coherent sentence I can form in French... and to be honest, I feel like a bit of a...eh...jerk... will suffice... for heading to a foreign country not being able to speak or understand the language. And I was getting myself psyched out with all of the "What ifs" ("How do I deal with Customs?")<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwocBsoJh0pdnLTwCie5-t_XtUTUAw1uA4zQG3fYkGJlXaYXxW-ZBfiSPhVTJtPa-G2eNT9b-Zt5QaKpzJvm-lTiwXhW5hi_cJhyX78lqnm3EdXSUafoldBir-aKZHx8pSQts0M8iXjOvl/s1600/IMG_20150320_144817256_resize.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwocBsoJh0pdnLTwCie5-t_XtUTUAw1uA4zQG3fYkGJlXaYXxW-ZBfiSPhVTJtPa-G2eNT9b-Zt5QaKpzJvm-lTiwXhW5hi_cJhyX78lqnm3EdXSUafoldBir-aKZHx8pSQts0M8iXjOvl/s1600/IMG_20150320_144817256_resize.png" height="320" width="180" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Notre-Dame Cathedral, our first <br />major tourism stop</td></tr>
</tbody></table>
Rachel and I had an uneventful trip from the Cleveland to Charles de Gualle via Chicago -- although I had a horrible time falling asleep on the trans-Atlantic flight -- arriving at about 10am Paris time Friday morning.<br />
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My biggest concern with customs quickly passed when I approached the booth, said "Bonjour" and the immigration officer didn't even look at me and barely looked at my passport before stamping it and handing it back to me without uttering so much as a word to me. Passing immigration we made our way to baggage claim, where our bags were promptly delivered and we exited the terminal to board the first of three trains to our hotel -- without encountering another official along the way. Someone had told me that it was easier for an Americ<br />
an to get into France than it was to get back into the United States and thus far I concur whole heatedly -- without even having to fill out a customs form, I think it was easier and faster (including waiting for luggage) to get out of Charles de Gaulle than the last time I landed at Cleveland Hopkins.<br />
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Arriving at the airport train station Rachel handled purchasing our rail passes and we were on our way into metropolitan Paris. We had some fun when we transferred to a train going the wrong direction but after a quick correction we found ourselves at Cint, a shopping center our hotel is attached to. However, finding the hotel was slightly more challenging.<br />
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Spotting an information desk, I approached -- "Bonjour" "Bonjour..." Ok, High School french, how do I ask for the Hilton. I panicked "Parle-vois anglais?" "Yes" she smiled. "Where is the Hilton?" "Through the Tunnel" "Merci" "You're welcome."<br />
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Arriving at the hotel's front desk, a similar experience though realizing I had not a chance at asking for an early checkin in French -- "Bonjour, Monsieur." "Bonjour, parle-vous anglias?" "Yes" and off we were.<br />
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After freshening up for a bit and relaxing -- but resisting the temptation to sleep -- in the room, Rachel and I headed out to visit Notre Dame cathedral -- a beautiful edifice, and we happened to be inside during the processional and beginning of a 3pm mass. Our visit to Notre Dame, and our mass atteandance, complete we set off for an early dinner. One of Rachel's coworkers had recommended a resturant near by, however after checking out the menu nothing seemed to my (picky) taste... Luckily two doors down we found a delightful and tiny restaurant with a menu a bit more to my taste.<br />
<br />
"Bonjour" "Bonjour... would you like to eat or to drink?" and from that point our restaurateur spoke entirely in English (even answering "Merci" with you're welcome) -- the food was good and in conversation our waiter mentioned that he was happy to speak English because "you learn it in school and have to practice it" and he doesn't want patrons to feel obligated. I'm becoming convinced that the stereotype of the Parisian that refuses to speak English is entirely outmoded."<br />
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After dinner we walked along the Seine for a bit before returning to our room and falling asleep relatively early.<br />
<br />
Lincoln<br />
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Liszt: <i>Piano Concerto No. 2 </i>in A major (in one movement) (Jean-Yves Thibaudet, piano)<br />
Beethoven: <i>Symphony No. 7 </i>in A major, Op. 92<br />
Fabio Luisi, <i>Conductor</i><br />
<i><br /></i>
As a programming note, starting Thursday Rachel and I will be in Paris (or as Hilton refers to it "Paris, Paris, France") to celebrate our fourth anniversary of dating. If anyone has any suggestions for "off the beaten path" sites to see, things to do, or even people to meet -- please send me an email at L at LincolnInCleveland.com (Also, if you happen to know a cheap way to upgrade our transatlantic flights on United to BusinessFirst...that would also be greatly appreciated)<br />
<br />
I have to admit that I was less than excited about the modern piece that opened the program -- Francescone's <i>Cobalt Scarlet</i> -- especially when given the rousing "not as bad as it could have been" from someone who heard Thursday's performance of the piece. But while the slow passages started as interesting and ephemeral (despite some of the nuance being lost in the noise of a shuffling and rustling audience that was still getting settled as the first notes were played) and became more tiresome and lumbering, the fast passages were fascinating and as exciting as a cinematic chase.<br />
<br />
Liszt's <i>Piano Concerto</i> as a single movement was lyrical and mournful in general -- full of technique but not really engaging my ear, though passages with a solo cello were heavenly -- I think I could have listened to just that portion of the piece for hours on end, and I had a similar reaction to the fluttering flute later in the piece<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20150314" /><br />
<div>
<br /></div>
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Traditional Turkish: <i>Drama Koprusu </i><br />
Traditional Turkish: For the yellow flowers (added)<br />
Albieniz: <i>Piezas Caracteristicas, </i>Op. 92, No 12: Torre Bermeja, Serenata<br />
Gismonti: <i>Palhaco</i><br />
Nazareth: <i>Brejeiro</i><br />
Gismonti: <i>Agua E Vinho</i><br />
Sadinha: <i>Lamentos Do Moro</i><br />
Two encores, titles unannounced.<br />
Gaelle Solal, guitar.<br />
<i>At the </i>Plymouth Church, UCC<br />
<br />
Before tonight's concert began, Rachel thought she spotted an idol in the audience -- and she may be sitting next to me rereading one of his collections next to me as I'm writing this -- but she was too respectful to see if she was correct -- but I had the distinct honor of seeing her (normally ultra reserved) go uber fan girl -- hitting some octaves I didn't think she was physically capable of before this evening.<br />
<br />
Anyway, getting on to the main event, the guitar has a wonderful ability to bring immediate warmth to a room -- and on yet another chilly Cleveland evening, where it was 17 degrees when we left the house -- spiritual warmth is always appreciated. Ms. Solal also gave particularly informative and elucidatiory introductions to the pieces she so adeptly played.<br />
<br />
The first half of the program consisted entirely of the five movements of Bach's Partita No. 2 -- which through their different tones (warm and sedated then sprinting, a <i>Sarabanda </i>that seemed to capture the loss of a close friend, to the lighter <i>Giga</i> and 64 variations in a <i>Ciccona</i>) made me think of this as a musical answer to the stages of grief.<br />
<br />
Following intermission, two traditional turkish pieces (one on the program, one added) brought a distinctly Eastern European tone to the hall, and was one of my favorites from the program.<br />
<br />
Albeniz's <i>Torre Bermeja </i>was more mellow, and Girmonti's <i>Palhaco </i>was moe metitative. Nazareth's <i>Brejeiro </i>brought more energy and was a bit of chirpy, jaunting fun -- also one of my favorites from tonight's program. For as light and happy as <i>Brejeiro </i>was, Gismonti's <i>Agua E Vinho </i>was almost depressingly sad. As a counterpoint, Sardinha's <i>Lamentos Do Morro</i> had more (at the beginning, pulsing) energy than any other lamentation I can recall hearing.<br />
<br />
Ms. Solal presented two encores, titles unannounced but with wonderful dedications -- the first to the musical outreach program, and the second to her Cleveland hosts.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20150228" /><div class="blogger-post-footer"><script type="text/javascript">
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Poetry Reading: Kathleen Cerveny: <i>Mended Dreams</i>, a pantoum<br />
The Beatles: <i>Blackbird </i>(arr. Steven Laven)<br />
Bartok: <i>String Quartet #6</i> (1939) Mvt. 3 <i>Mesto</i><br />
Bach: <i>Oh Sacred Head Now Wounded </i>Chorale from <i>St. Matthew Passion</i>, BVW 244<br />
The Beatles: <i>Yesterday </i>(arr. Larry More)<br />
Bach: <i>Brandenburg Concerto #5 </i>in D, BVW 1050, Mvt. 1 (arr. Merle Isaac)<br />
Bartok: <i>String Quartet #6 </i>(1939) Mvt. 3 <i>Burletta </i><br />
Bach: <i>Sonata in C-Major </i>for Violin Solo, VBW 1005, Mvt. 3 and 4 (Isabel Trautwein, <i>solo violin</i>)<br />
Bach: <i>Art of Fugue, </i>Contrapunctus I<br />
Poetry Reading: Cerveny: <i>Fire and Frost</i>, a villanelle<br />
The Beatles: <i>And I Love Her </i>(arr. Laven)<br />
Bach: <i>From Depths of Woe I Cry to Thee</i> Chorale from cantata BVW 38<br />
Bartok: <i>Dance </i>from <i>Maramos </i>(#32)<br />
Poetry Reading: Stafford: <i>You Reading This Be Ready</i><br />
Lennon: <i>Imagine </i>(arr. Laven)<br />
Kathrine Bormann and Isabel Trautwein, <i>violin</i>; Sonia Bratten Molloy, <i>viola</i>; Tanya Ell, <i>cello </i>(all members of The Cleveland Orchestra)<br />
At <i>Kalman and Pabst Photo Group's Studio</i>, Midtown Cleveland.<br />
<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis5bMWOdAGLpm4OOF17iEX9Dr7kUBHN6wYRw-oJ6QQLViZV659xDQLNuHd7Cswj9Hz8oBYXb5aJVBJUmNsl_aOY8VFKDWByGOgdQFiQas315NB1NP4TN_pgNHqBGCfLsLeM1N2OdsHzJD_/s1600/heightsartgrouppreferredcrop.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis5bMWOdAGLpm4OOF17iEX9Dr7kUBHN6wYRw-oJ6QQLViZV659xDQLNuHd7Cswj9Hz8oBYXb5aJVBJUmNsl_aOY8VFKDWByGOgdQFiQas315NB1NP4TN_pgNHqBGCfLsLeM1N2OdsHzJD_/s1600/heightsartgrouppreferredcrop.jpg" height="124" width="200" /></a>I've been in love with <a href="http://kpphoto.com/" target="_blank">Kalman and Pabst Photo Group's</a> midtown studio space since the first time I wandered in several years ago and I've always wondered how it would sound as a live music space. This season stars aligned in a major way -- not only did the talented crew from KP generously donate their talents to produce the beautiful imagery used to promote this season's concerts but they also graciously hosted us in their studio this afternoon for the second concert of this season. <br />
<br />
Today's sold out concert was a unique journey matching three eras of music -- starting with J.S. Bach, skipping forward to Bela Bartok and finishing with the music of The Beatles arranged for string quartet grouped intelligently as musical tastings and with poetry readings interspersed.<br />
<br />
Aside from highlighting the versatility of these fantastic musicians through the diverse musical selections, with insightful commentary linking each set of pieces and musical theory and execution -- particularly humorous was when Ms. Bormann related her experience digging behind the music while learning Debussy under the direction of a Russian instructor.<br />
<br />
Though the music was as delightful as a whole -- and I don't really consider myself a fan of the Beatles -- I did particularly enjoy this group's performance those pieces reminding me, conceptually of Vitamin String Quartet, a rotating quartet that records string arrangements of popular music.<br />
<br />
Lincoln<div class="blogger-post-footer"><script type="text/javascript">
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Prokofiev: <i>Violin Concerto No. 2 </i>in G minor, Op. 63 (Vadim Gluzman, <i>violin</i>)<br />
Unannounced encore for solo violin (Vadim Gluzman, <i>violin</i>)<br />
Tchaikovsky: <i>Symphony No. 5 </i>in E minor, Op. 64.<br />
Hannu Lintu, <i>conductor</i>.<br />
<br />
Approaching the box office this evening -- a full 90 minutes prior to the concert start time -- I was a little surprised to find a completely full house -- not even a single standing room ticket to spare. Luckily, I already had a ticket though far from my "usual" (low-numbered) boxes. I was in Box 22, Seat F for tonight's concert, on the right side of the house, practically on stage [only one box sits closer].<br />
<br />
I was a little apprehensive because the sound in Severance Hall changes dramatically based on where you are in the hall and while I've never been in Box 22, I'm not fond of the way the orchestra sounds when heard from boxes 16 or 18 and I feared the effect would be worse. That was most certainly not the case with tonight's concert where the orchestra sparkled with a resonance I can't recall from recent performances.<br />
<br />
With the extreme intimacy -- being practically on stage -- I found myself with a view of the conductor's face and facial expressions (in profile) while shaping the sound of the orchestra that I've not been able to see from the more traditional seating locations, and honing in on the movements and indeed sounds of individual musicians. My only problem with tonight's concert was entirely my fault, to borrow a cliche "I couldn't hear the orchestra for the musicians".<br />
<br />
To that end, the resplendent pizzicato of the second movement of the violin concerto and the delicious entirety of the unannounced encore played by Mr. Gluzman were certainly highlights.<br />
<br />
Lincoln<br />
<br />
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Ravel; <i>Daphnis and Chloe</i>: Choreographic Symphony In Three Parts (with the Cleveland Orchestra Chorus, Robert Porco, <i>director</i>)<br />
Franz Welser-Most, <i>conductor</i>.<br />
<br />
Bleh.<br />
<br />
2015 will be the year where I become far more opportunistic regarding which Cleveland Orchestra concerts I choose to attend, primarily due to a number of unfortunate changes artistically and administratively -- the most unfortunate of which being the extension of Franz Welser-Most's contract with the Orchestra -- as well as a number of resignations and retirements from within the artistic and administrative staffs, and a increasingly demanding professional workload -- I no longer feel the level of engagement with the orchestra that I once did.<br />
<br />
Tonight's performance of Mozart's Symphony No. 41 left me sitting thinking of all of the things that I could have been doing with the time I had set aside to attend the concert, not to mention the money used to purchase the ticket. Running down I think any of them -- including changing the oil on my car -- would have been a better use of my time. Mr. Welser-Most's rendition was un-engaging and dispassionate that rather than taking me to a different world, as a great concert will do, I had to struggle to keep my attention on the piece rather than, say, the laundry I could be doing.<br />
<br />
I've often said that the reason I enjoy live classical and detest listening to recorded classical is the dynamic range and exchange of energy that you get from the live orchestra -- I got neither of those tonight.<br />
<br />
During intermission I pondered my predicament -- I generally like Ravel whereas I tend to lean indifferent to Mozart -- I decided with how miserable I was feeling toward the first piece and despite the investment in the ticket, I would be far better off just heading home to do laundry. And I feel good about that decision.<br />
<br />
I think the lesson learned from tonight, and in the spirit of being more opportunistic (with the side benefit of saving some money for our trip to Paris in March) I will not be attending next week's concert -- nor, do I expect, other concerts conducted by Mr. Welser-Most in the near future. I am optimistic about the concert on January 24th (including <i>Pictures at and Exhibition</i>)<i> </i><br />
<i><br /></i>
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20150110" /><div class="blogger-post-footer"><script type="text/javascript">
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Piazzolla: <i>Adios Nonino</i><br />
Assad: Three Balkan Pieces<br />
Takrmitsu: Towards The Sea<br />
Thomas: <i>Out of Africa</i><br />
Sor: Variations on "<i>O Cara Armonia</i>" from Mozart's <i>The Magic Flute</i><br />
Piazolla: <i>Oblivion </i>(encore)<br />
Eugenia Moliner, <i>flute</i>; Dennis Azabagic, <i>guitar</i>. <i>At</i> Plymouth Church UCC, <i>Shaker Heights</i>.<br />
<br />
<br />
Winter has most definitely arrived in Northeast Ohio, making the warm and simple feeling evoked by the first piece on the program -- J.S. Bach's <i>Sonata in C</i> -- of listening the the piece while sitting in front of a medieval castle's roaring fireplace. Interestingly, the couple noted that the authorship is somewhat questioned based on departures from Bach's typical stylem including ending on a Menuet movement.<br />
<br />
An emotional farewell to father (<i>Adios Nonino</i>) took the second slot on the program with an interesting "squeaky" technique and sound from the guitar. Initially chipper, it concluded on a combination of somber and soaring tones. Ms. Moliner commented that it was an emotionally difficult piece to play based on the recent loss of her father.<br />
<br />
Incidentally, the couple's -- yes, they are married -- onstage banter and needling added an extra texture and enjoyment to the concert.<br />
<br />
The third "piece" on the program was actually a collection of three Balkan pieces -- the first, <i>Kalajdzijsko Oro</i> (traditional Macedonian) provided a fluttering flute punctuated by a guitar -- almost as if a soaring bird was punctuated by updrafts of wind. The second, also traditional Macedonian, <i>Ajde slusajm slusaj </i> was soothing and relaxing, and the third, traditional Bulgarian, <i>Ratchenitsa</i> was more upbeat and carried a very different sound than the first two pieces.<br />
<br />
Following intermission, <i>Toward the Sea</i>, commissioned by Greenpeace for its Save the Whale Campaign was captivating in its use of both the alto flute and its use of not only music but periods of silence to mimmic the sounds and communication of whales -- the imagery was unmistakable,<br />
<br />
<i>Out of Africa</i>, also a thematic piece -- who's five movements covered the span of a single day in Africa, from the <i>Call at Sunrise, Morning Dance </i>to the mid-day <i>Zenith</i>, and the evening and night <i>Evening Dance </i>and <i>Cradle Song </i>was soothing and engaging with a clear arc in the tone from the bright morning to the slowing evenings. Both amusingly (and somewhat diffracting) the piece also covered the arc of consciousness of a very visible Hawken student -- with large yawns in the "morning", falling horizontal with one knee in the air at the zenith, and finally achieving a completely horizontal position through the evening and conclusion of the piece (and published program)<br />
<br />
The last piece on the published program, variations on <i>O Cara Armonia</i> from Mozart's <i>The Magic Flute</i> was lively but not particularly evocative of particular emotion or imagery.<br />
<br />
The Next Cleveland Classical Guitar Society International Series concert Gaelle (France) on February 28th.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?cgs+20141115"> <div class="blogger-post-footer"><script type="text/javascript">
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Elgar: <i>Cello Concerto</i> (Alisa Weilerstein, <i>cello</i>)<br />
Unannounced encore for solo cello (Alisa Weilerstein, <i>cello</i>)<br />
Adams: <i>Harmonielehre</i><br />
Giancarlo Guerrero, <i>conductor</i><br />
<i><br /></i>"Meh." Leaving at intermission, I found myself so completely uninspired that I contemplated skipping text for this entry. The first half of the program was well played but entirely too depressing and funereal in tone only slightly captivating and not at all inspiring.<br />
<br />
Combined with word that a beloved orchestra staffer has resigning (no, not Gary Hanson) in addition to another recently announced departure, and a lingering day-long headache, I saw no point in--let alone being in the proper mood for-- sticking around for Adams. The minor traffic jam in the parking garage suggests I was not alone in reaching that conclusion.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20141108" /><div class="blogger-post-footer"><script type="text/javascript">
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Leonin: <i>Viderund omnes</i><br />
Hovhaness: <i>Fantasy No. 1</i> (1967)<br />
Flothius: <i>Sonatine </i>(1946)<br />
Hidas: <i>Triga </i>(1992)<br />
Bassett: <i>Trio for Brass Instruments </i>(1953)<br />
Needham: <i>Mobiles</i> (2013)<br />
Frackenphol: <i>Brass Trio </i>(1966)<br />
Jack Sutte; <i>trumpet, </i>Jesse McCormick, <i>french horn</i>; Rick Stout, <i>trombone</i>, with poetry readings by Kathleen Cerveny. At the home of Mark and Sue Hollingsworth, <i>Shaker Heights</i><br />
<i><br /></i>
If The Cleveland Orchestra is the five-star fine dining of Classical music in Cleveland, Heights Arts is the gourmet food truck -- serving up delicacies for smaller audiences in slightly less predictable and more nomadic fashion. Indeed, aside from the fantastic music performed by amazing musicians, I like the experience if seeing inside some of the beautiful and unique homes on the East side -- and today's concert in the beautiful Hollingsworth residence was no exception.<br />
<br />
What was unusual were the instruments -- a trio of brass players taking the name "Factory Seconds" in homage to their roles as the <i>second</i> for their instruments in The Cleveland Orchestra. I was a little nervous going in to today's program that brass, let alone a trio of brass, would overwhelm the small spaces and intimate audiences of the typical Heights Arts concert. That fear was misplaced.<br />
<br />
I found that I enjoyed the first half of the program slightly more than the second half with Bardin's <i>Sonatine en Trio, </i>the opening piece on the program, setting an excellent mood with the spirited but playful marchesque first movement, the subdued evening walk of a second movement and the lively third movement.<br />
<br />
The second an third pieces on the program were offered as a sandwich with a piece of poetry in the middle -- while I enjoyed <i>Viderunt Omnes</i>, said to be the beginning of Western music, I think I spent too much mentally time trying to connect <i>Fantasy No. 1</i> to that piece and the poetry to enjoy it musically.<br />
<br />
Flothius's <i>Sonatine's </i>four movements blended into a single fluid work and right around the time I had decided I was enjoying the quick pace of the first movement (which at the beginning I related to a festive almost circus-like feeling) I realized the piece had ended. Finishing out the first half of the program, Hidas' <i>Triga</i> offered a slightly more burnished fanfare.<br />
<br />
The program following intermission, though notable for featuring all living American composers didn't capture my interest in the same way or to the same degree -- I had a hard time formulating a reaction to Bassett's <i>Trio for Brass Instruments. </i>Needham's <i>Mobiles </i>Started out with a subdued, dreamy nighttime walk on a quiet alley, met and crossed a busy thoroughfare, before returning to the shadows.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?hts+20141102" /><div class="blogger-post-footer"><script type="text/javascript">
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Respighi: <i>Trittico Botticelliano </i>for chamber orchestra<br />
Deak: <i>Concerto </i>for String Quartet and Orchestra "<i>The Headless Horseman of Sleepy Hollow"</i> (Kenneth Johnston, Charles Morey, <i>violins</i>; Kirsten Docter, <i>viola</i>; Bryan Dumm, <i>cello</i>; Robert Conrad, <i>narrator</i>)
Carlton R. Woods, <i>director</i>.<br />
At <i>Plymouth Church, UCC, </i>Shaker Heights<br />
<br />
Late Fall has certainly arrived in Northeast Ohio and while I was out of town Thursday and Friday, after spending a lazy day under warm covers Rachel and I headed to Plymouth Church in Shaker Heights to hear BlueWater Chamber Orchestra's Halloween-appropriate program. BlueWater, as a chamber orchestra, is an example of what makes greater Cleveland a great place to live with the wealth of musical talent in a slightly more compact and intimate format than the full-blown orchestra.<br />
<br />
While the third work on the program, a concerto based on the short story <i>The Headless Horesman of Sleepy Hollow</i>" was initially what I thought was most intriguing, in execution the first two were the strongest showings.<br />
<br />
Debussy's <i>Prelude to the Afternoon of a Faun </i>is always enjoyable to hear and tonight's performance was particularly enjoyable thanks to an energetic delivery and the additional color brought by the addition of a harp -- while subtle it added a sparkle that made the afternoon of the faun that much easier to imagine.<br />
<br />
Through the second piece on the program brought the audience Respighi's reactions, in musical form, to three works by Botticelli in Florence's Uffizi gallery via <i>Trittico Botticelliano </i>for chamber orchestra. The first, <i>Primavera</i>, was an energetic almost marching delivery that reminded me of a conversation in music with an interesting rhythm and more interesting texture. Second, <i>L'adorazione dei Magi</i> was a little bit more subdued and if I had to ascribe a specific feeling to it, "slightly middle-eastern"; the final movement, <i>La Nascita di Venere</i> was more of a meandering walk on a tepid fall day with a passionate delivery by the orchestra.<br />
<br />
The concert concluded with Deak's <i>Concerto </i>for String Quartet and Orchestra "<i>The Headless Horseman of Sleepy Hollow", </i>narrated by Robert Conrad of WCLV, a piece I was really looking forward to hearing, especially with Mr. Woods's introductions for the soloists (Ichabod was represented by the two violinists on account of his "complex personality", Katrina represented by the viola "in a frisky kind of way", and the cello was "just strange") -- and Mr. Conrad's distinctive voice built for narration -- but the balance seemed a little lacking and I found myself struggling to hear Mr. Conrad's narration over the orchestra at times which distracted me from simply enjoying the piece. Despite that challenge, the piece was enjoyable with overlapping textures a fun and lively "barn dance" and musicians clearly having fun with the performance.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?bco+20141101"><br />
<br />
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Brahms: <i>Song of Destiny </i>[Schichsalslied], Op. 54 (Cleveland Orchestra Chorus, Robert Porco, <i>director</i>)<br />
Mendelssohn: <i>Symphony No. 5</i> ("<i>Reformation</i>") in D major, Op. 107<br />
James Gaffigan, <i>Conductor</i>.<br />
<br />
[I should note that next Saturday, <a href="http://www.bluewaterorchestra.com/2014/05/november-concert-at-plymouth-church/#sthash.UeJkl0p3.dpuf" target="_blank">BlueWater Chamber Orchestra</a> is offering a promising concert at Plymouth Church including Robert Conrad narrating a string interpretation of Washington Irving’s story “<i>The Headless Horseman of Sleepy Hollow</i>”]<br />
<br />
While it was quite disappointing to hear not only Hillary Hahn had withdrawn from this weekends performances but that, in the words of another patron "they really couldn't find another violinist!?! In Cleveland?" I have to say I enjoyed the replacement.<br />
<br />
While someone who knows me well remarked "I wasn't expecting to see you-- there's more singing than you usually care for" and I, honestly, wasn't expecting to like Bach's Cantata No. 199, Ms. Van Doren and the predominantly string chamber orchestra delivered a well-balanced passionate piece that was delightful to listen to.<br />
<br />
Likewise, while it seems a waste of the Chorus for only 15 minutes the initially meditative turning explosive Sing of Destiny had me bolt upright with attention. Mr. Gaffigan's expressive conducting, particularly in the third movement with hair flying despite very sharp conducting was the theatrical cherry on the top -- and the delta between the restrained and respectful first and second sections and the fierce and bold third was delicious.<br />
<br />
Following intermission Mendelssohn's <i>Symphony No. 5</i> was the piece I had most looked forward to on tonight's program -- and while it was as enjoyable to listen to as the other pieces on the program, something felt not quite right, or the piece didn't seem to quite fit with the rest of the program -- I couldn't put my finger on it.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20141025"> <div class="blogger-post-footer"><script type="text/javascript">
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Pintscher: <i>Idyll</i> (for orchestra) (World Premiere performances)<br />
Chopin: <i>Andante Spianato & Grand Polonaise brillante</i> in E-flat major,
Op. 22 (for piano and orchestra) (Lang Lang, <i>piano</i>) <br />
Strauss: <i>Burleske</i> (for piano and orchestra) (Lang Lang, <i>piano</i>)<br />
Strauss: <i>Till Eulenspiegel's Merry Pranks</i>, Op. 28<br />
Franz Welser-Most, conductor.</div>
<div>
<br /></div>
<div>
Ok, so on one hand I was very excited to return to Severance for a new
season, on the other hand that excitement was tempered -- almost quenched -- by
the news that Mr. Welser-Most's contract was renewed. I was really hoping for a
change, and the news out of Austria had gotten my hopes up.</div>
<div>
<br /></div>
<div>
Anyway, this afternoon's concert opened with a half hour of tedium in the
form of Matthias Pintscher's Idyll. While not as jarring and painful as most
"new" classical at 25 minutes plus it was entirely too long and uninteresting --
sure there were parts that had a tenuous hold of my attention, early on a
section reminded me of playful nymphs; later the atmosphere approaching a murder
scene in a classic film, but on the whole I would have preferred to do
without.</div>
<div>
<br /></div>
<div>
Lang Lang brought Chopin's <i>Andante spianato & Grand Polonaise
brilliante</i> to life beginning with a sound I would liken to a delightfully fluffy
and delicious pastry for the ears to wash out the foul taste of the prior
composition -- although the orchestra was a bit stiff under Welser-Most's baton, it was certainly preferable to the Pintscher. </div>
<div>
<br /></div>
<div>
Following intermission was like an entirely new concert and could have been cleaved from the first half for a much more enjoyable program on its own. Chopin's <i>Burleske, </i>once again with the piano part played by Lang Lang was sparkling with a bold orchestra embracing in a familiar dance with the piano, while towards the end of the piece brought arguments from the orchestra that puncutated otherwise flowing music. </div>
<div>
<br /></div>
<div>
Finally the program closed with Strauss's <i>Till Eulenspeigel's Merry Pranks</i> was enjoyable in a fun and lyrical way but I didn't find it particularly memorable</div>
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Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20141012" /></div>
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<br />
Such utter incompetence on the part of United Airlines staff in Chicago last year (before the two maintenance-related emergency landings, and three days of a four day trip to Richmond without my luggage among other complete service failures) lead me to miss a connection on my way back home to Cleveland. <br />
<br />
Arriving at our connecting gate at precisely the same moment -- coming from a different flight, but also missing the connection due to causes within United's control -- was an artist. <br />
<br />
While we were waiting for United to figure out how to get us both to Cleveland we chatted, and I started with my typical "What brings you to Cleveland?" The answer surprised me -- she was an artist heading to Cleveland because her work was on display at both the Cleveland Museum of Art and MoCA Cleveland. It turned out I was chatting with Janet Cardiff, and her work on display at CMA was <em>Forty Part Motet,</em> one of the most unique and stirring installations I've encountered, and certainly one you would have to hear to understand.<br />
<br />
This brings me to today -- I'm back in Vancouver for the week, mixing business with pleasure and spent the day wandering around downtown. Without question I love this city on nearly the same level as I love London* -- both cities have a vibe that I don't pick up in the states -- and I hadn't planned in visiting the Vancouver Art Gallery again on this trip.<br />
<br />
But fate intervened. My wanderings through downtown I walked past the entrance to the Art Gallery and I decided to head in. Thanks to having my CMA Donor card on me, the visit was free (excluding the hundred bucks I managed to spend in the gift shop). And the next few hours just kind of slipped by.<br />
<br />
The lower floors, occupied by the <i>Douglas Coupland everywhere is anywhere is anything is everything</i> (closing today) had pieces that piqued my interest -- including a Lego suburbia -- on a whole it failed to really move me... But as I moved up the building I found myself immersed in an entire floor of Janet Cardiff and George Bures Miller's work via the exhibition <i>Lost in the Memory Palace</i>.<br />
<br />
The below video does a far better job of explaining the exhibition than I ever could -- but it's worth noting that I was particularly captivating that the <i>Experiment in F# Minor</i> -- where the shadows of attendees trigger musical sounds -- in effect "playing the table". I was completely transfixed by the <i>Opera for a Small Room -- </i>a twenty minute looped presentation where (for the first time in as far as my recollection will allow me) I stood in the same place for the entire twenty minute loop without feeling the urge to move on.<br />
<br />
<i>The Killing Machine</i> was a somewhat horrifying piece that I found to be one of the more thought provoking of my recent encounters -- revolving more or less on capital punishment -- and amplified by the fact that it takes a conscious act on the part of the viewer (pushing the "big red button") to start the machine.<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/LAhrSiUeP2I?rel=0" width="560"></iframe>
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?trv+20140901" /><br />
<br />
[*- However it is seeming extraordinarily unlikely I will have a work-related reason to visit London. If anyone knows anyone that needs Crestron programming done in the UK... hit me up ;)]<div class="blogger-post-footer"><script type="text/javascript">
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Stravinsky: Suite from <i>Pulcinella</i><br />
Haydn: <i>Violin</i><i> </i><i>Concerto</i><i> </i><i>in</i><i> </i><i>C</i><i> </i><i>major</i>, H.Villa:1 (Peter Otto, <i>violin</i><i>)</i><br />
Mendelssohn: <i>Scherzo</i> and <i>Nocturne</i><i> </i>from <i>A Midsummer Night's Dream, </i>Op. 61<br />
Mendelssohn: <i>Symphony</i><i> </i><i>No</i><i>. 4 </i>("<i>Italian</i>") in A major, Op. 60.<br />
Jeffrey Kahane, <i>Conductor</i>)</div>
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I actually really wanted to attend last Sunday's concert, however, having dropped Rachel off at the airport to begin her internship at the Library of Congress on Saturday only to return to the airport on Sunday to send myself to Minnesota.... The scheduling didn't quite work out. Actually looking at the remainder of the Blossom season only on e Saturday and none of the Sunday concerts is even a scheduling possibility, leaving the very real prospect that this may be my last visit to Blossom for the 2014 season.</div>
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And, based upon the first half if it is to be my last, it will certainly be the best I've attended this season. While Stravinsky is known for his riotous--not to mention cutting edge--<i>The</i><i> </i><i>Right</i><i> </i><i>of</i><i> </i><i>Spring</i>, the suite from Pulcinella was equally pleasing but substantially more nostalgic and circumspect -- music that while good, and knowing its good, is trying to pass without drawing too much attention to itself.</div>
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<br /></div>
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Peter Otto's performance in Haydn's violin concerto had a similar restrained air. Once I was able to tune out the harpsichord (what can I say...I am no fan of its twang) I just let my mind go soft and before I knew it the piece was complete.</div>
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<br /></div>
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Following intermission the two selections from a Midsummer Night's Dream -- the <i>Scherzo</i> and <i>Nocturne</i> passed by quickly covering the span of about five minutes in total. The scherzo was light and airy, while the Nocturne was more somber but clearly shared some of the same musical DNA as the <i>Wedding March</i>, also originally from this piece.
</div>
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<br /></div>
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The program closed out with Mendelssohn's <i>Italian </i>symphony and it's famous opening theme; unfortunately, I didn't really find myself engaged beyond that opening and repetitive theme.</div>
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Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20140810" /> </div>
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Arr. Every and Barton: <i>Overture</i>: Broadway Divas<br />
Wildhorn and Bricusse: <i>This Is The Moment</i> from <i>Jekyll and Hyde</i> (Crawford)<br />
Bernstein and Sondheim: <i>Maria</i> from <i>West Side Story</i> (Keegan)<br />
Arr. Barker: <i>Love Duet Medley</i> (Bianco, Crawford, Keegan)<br />
Wilson and Hayman: <i>Seventy-Six Trombones</i> from <i>The Music Man</i> (Orchestra)<br />
Schwartz: <i>Defying Gravity</i> from <i>Wicked</i> (Bianco)<br />
Arr. Everly: <i>Leading Men Medley</i> (Crawford, Keegan)<br />
Bernstein, arr. Peress: <i>Overture</i> to <i>West Side Story</i> (Orchestra)<br />
Kinder and Ebb arr. Gibson: <i>Chicago Medley</i> (Orchestra)<br />
Hansard and Irglova arr. Everly: <i>Falling Slowly</i> from <i>Once</i> (Bianco, Crawford)<br />
Webber and Hart: <i>The Music of the Night</i> from <i>the Phantom of the Opera</i> (Keegan)<br />
Schoenberg, Boubill, Natel, Kretzmer arr. Barker: Selections from <i>Les Miserables</i> (Bianco, Crawford, Keegan, Remke, Chorus)<br />
Jack Everly, conductor; The Men of the Blossom Festival Chorus, Robert Porco, director; Christina Bianco; Ben Crawford; Ted Keegan; Ron Remke)</div>
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<br /></div>
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It was like Jekyll and Hyde this evening trying to get from Cleveland Heights to Blossom-- leaving my house I had the windshield wipers going fast and had to dodge a number of closed roads, but approaching blossom the skies cleared and the jacket in was wearing seemed positively foolish.</div>
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The first half of tonight's concert was similar -- while it was clear our orchestra wasn't being particularly challenged there were parts of the concert that were eminently enjoyable to listen to (the selection from Chess in the Leading Men Medley; most but not the entirety of Defying Gravity from Wicked) there were other parts that were nearly painful (such as the nasaly-to-New Jersey moments of Ms. Bianco's early parts of the Love Duet Medley), and on balance was largely meh -- the uninspired and overly burnished vocal performances generally outnumbering the captivating and inspiring.</div>
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<br /></div>
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As I posted the above from my phone during intermission, I sincerely hoped that the second half of the program would salvage the evening. Unfortunately -- having made it home safely -- I have to say it did not. While I despise <i>Chicago</i> the musical -- it's a contributing factor to the why I haven't returned to Playhouse Square in a few years -- the medley from <i>Chicago </i>combined with <i>The Music From the Night</i><b style="font-style: italic;"> </b>as highlights, though I have to say my favorite selection was the excerpt from <i>Chess</i> in the <i>Leading Men Medley. </i></div>
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<i><br /></i></div>
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For those highlights though, you have to subtract selections from <i>Les Miserables</i> which were full of vocal over reach, and the Ms. Bianco's Divas Impressions which beyond the initial and moderately tolerable Julie Andrews bit was pure agony that could not end quickly enough and killed whatever good will I had toward the program. </div>
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If this were at Severance Hall, I'd give it a "Meh" overall, but given the effort to get to Blossom and the price premium (~$40) attached to this concert over over typical Blossom pricing... I can't even rate it as high as a "Meh". </div>
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Lincoln<img src="htto://stats.lincolnincleveland.com/one.jpg?tco+20140727" /></div>
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Bizet: Suite from <i>Carmen</i><br />
Saint-Saens: <i>Violin Concerto No. 3 in B minor, </i>Op. 61 (Karen Gomyo, <i>violin</i>)<br />
De Falla: <i>The Three-Cornered Hat</i> (complete ballet music) (Emily Fons, <i>mezzo-soprano</i>)<br />
Bramwell Tovey, <i>conductor</i>.</div>
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<br /></div>
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Between work obligations (with the related travel) and a desire to just have a lackadaisical summer I'm being note selective in my Blossom attendance this summer... And on my drive down from Cleveland Heights I found myself wondering about this choice -- with light drizzle for the <u>drive</u> and me donning a jacket at Blossom for the first time I can recall.</div>
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The first half of the program was quite interesting -- opening with a suite of six selections from Bizet's Carmen, the familiar March of the Toreadors launched things with an impressive tempo, and the harp and flute leading into the strings for the <i>Intermezzo</i> was intoxicatingly relaxing. The Habanera, another well known selection, had a certain air of mystery, and the Dance Boheme had a folksy rustic dance air before picking up tempo.</div>
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I had a hard time getting into the second piece on the program, Saint-Saens's third violin concerto. While delicate and relaxing, I didn't find the piece engaging, and the change in mood of the third movement was jarring. My initial impression was that it would be a great piece for a warm summer evening - bout not a tepid one.</div>
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<br /></div>
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Mr. Tovey provided a wonderfully humorous introduction to De Falla's The Three Cornered Hat. I'm finding I particularly enjoy music intended for dance for its fluid movement and (usually) clear musical story and this was no exception with about 35 minutes of more or less continuous music with a range of mostly humorous and enjoyable music. </div>
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About three readers will appreciate that pleasant coincidence that Mr. Tovey is the music director of the Vancouver (Canada) Symphony -- and this week I confirmed that I'll be returning to the beautiful city of Vancouver late summer or early fall for a project. Once dates get pinned down, I shall have to see if he's conducting on his home turf while I'm in town. </div>
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Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?tco+20140719" /></div>
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<br />
My personal tradition since moving to Cleveland has been to attend Blossom's Independence Day festivities. This year marked my ninth year attending, and Rachel and my's third year and enjoying the Blossom Festival Band under the direction of Loras John Schissel, an able conductor and a Senior Musicologist from the Library of Congress.<br />
<br />
(Incidentally, since I pick up a few hits from the DC area around this time each year, Rachel will be interning with the Library in Washington DC in August and September -- if anyone knows someone whit a spare bedroom or couch available for rent rent in the area please drop me a line at <i>lincoln at lincolnincleveland dot com.</i>)<br />
<br />
I had an unplanned trip to New York on Tuesday and had planned on returning Wednesday afternoon, but due to the wonders of United's reliability, about 6 hours after I first started trying to get back to Cleveland I just changed the flight to a 6am Thursday morning -- meaning that I was awake starting about 3:30. Not being a morning person to begin with, by the time concert time rolled around I was basically in a perpetual state of yawn. (You know you're too far gone when the cannon fire in the 1812 Overture doesn't stir you...)<br />
<br />
The program was the typical fare -- patriotic pieces with a few more Sousa pieces than I'd personally like-- and you'll find my reactions to many of those pieces in my prior posts about the annual patriotic tradition.<br />
<br />
Worth particular note, however were Copland's <i>Variations on a Shaker Melody</i> and Anthony O'Toole's arrangement of George F Root's <i>The Battle Cry of Freedom.</i> I learned from Mr. Schissel's introduction of <i>Variations on a Shaker Melody</i> that it's parent piece (the ballet <i>Appalachian Spring - </i>also a favorite of mine<i>) </i>was a commission by The Library of Congress for Martha Graham The <i>Shaker Melody</i> is also known by its first few lyrics ('tis a gift to be simple, 'tis a gift to be free...) and the variations were interesting in their treatments of this from delicate and understated to bold, forceful declarations.<br />
<br />
Meanwhile, Anthony O'Toole's treatment of <i>The Battle Cry of Freedom -- </i>receiving what is believed to be the first public performance with these concerts -- stated "elegiacal" (to borrow Mr. Schissel's description which I fully endorse) but took on a cinematic and triumphant swell about midway through the piece and became more of a declaration of future freedom the respect for past freedoms that seemed to mark the first half.<br />
<br />
Mr Schissel's own <i>November 25, 1963</i> had an intense and somewhat haunting drum beat<br />
<br />
There were at least two encore pieces following the official end of the program, however, I was far too tired to stay and enjoy.<br />
<br />
Key (arr. Schissel): <i>The Star-Spangled Banner</i><br />
Gomes: <i>Overture: II Guarany</i><br />
Sousa: <i>Federal</i><br />
Copland: <i>Variations on a Shaker </i><br />
Root (arr. O'Toole): <i>The Battle Cry of Freedom</i><br />
Gould: <i>Pavanne</i><br />
Sousa: <i>March: Jack Tar</i><br />
Rodgers: <i>Symphonic Synthesis: Victory At Sea</i><br />
Goldwin: <i>On the Mall</i><br />
Sousa: <i>Semper Fidelis</i><br />
Sousa: <i>Humoresque on </i>Jerome Kern's "<i>Look for the Silver Lining</i>"<br />
Schissel: <i>November 25, 1963</i><br />
Traditional: <i>March-Past of the U.S. Armed Forces</i><br />
Tchaikovsky: <i>Overture: The Year 1812</i><br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?bfb+21040703" /><div class="blogger-post-footer"><script type="text/javascript">
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<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirwaMlYYxF-irODhD8TkAyDrqwPZWUeWrZ-Fq5_tOHD_WYM7pysJggbFVE6PO6ENOA9yRdKktCrHhp_-goR6BBUoTO_U1uau9-GTJb5uCZfM_lPXw0LoCu62RmdCAiu-cdbGtB7r-zWVkc/s1600/IMG_20140609_172806_590.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirwaMlYYxF-irODhD8TkAyDrqwPZWUeWrZ-Fq5_tOHD_WYM7pysJggbFVE6PO6ENOA9yRdKktCrHhp_-goR6BBUoTO_U1uau9-GTJb5uCZfM_lPXw0LoCu62RmdCAiu-cdbGtB7r-zWVkc/s1600/IMG_20140609_172806_590.jpg" height="240" width="320" /></a></div>
As it would turn out today was a beautiful day for flying and our host, Jake, a certified flight instructor at Premier Flight Academy (at Burke Lakefront Airport just east of downtown Cleveland) was a great host talking us through the pre-flight walk-around, checklists and takeoff sequence. Once we got into the air it was a beautifully smooth flight as he demonstrated the flight controls and brought Rachel and I into 30- and 45-degree banks (in fact, the only bump on our flight was when we crossed our own wake). I was offered the controls but too chicken to grab hold.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bO63whwEgmb-Wd7fEkxP7lKWrM0ogt5tN1_D2qQaMZVr5JGxGIk2PMM0Ueh4Fcz2ns8bldBIWGZ0DVY9DDLlaqjbxlN1vxrA40UVP6GeR0sKmcOpsLSyFVtoOZPZDtg5ux3B71XmeyEh/s1600/IMG_20140609_171505_584.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bO63whwEgmb-Wd7fEkxP7lKWrM0ogt5tN1_D2qQaMZVr5JGxGIk2PMM0Ueh4Fcz2ns8bldBIWGZ0DVY9DDLlaqjbxlN1vxrA40UVP6GeR0sKmcOpsLSyFVtoOZPZDtg5ux3B71XmeyEh/s1600/IMG_20140609_171505_584.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My seat while in-air</td></tr>
</tbody></table>
<br />
The entire flight was beautifully smooth -- I suppose I had expected things to be a bit bumpier, but it was not really any different than riding down the freeway. Jeff answered every question we posed -- satisfying some of my long-standing curiosities.<br />
<br />
On the way back in we got some excellent views of downtown, before landing on runway 6L -- one of the smoothest I can remember recently & chatted about getting a private pilot's license. It is oh so tempting....<br />
<br />
Lincoln<div class="blogger-post-footer"><script type="text/javascript">
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<i>Zak and Sarah</i> (arr. Iain Grandage)<o:p></o:p></div>
<div class="MsoNormal">
<i>Smoke </i>(arr. Michael Pigneguy)<o:p></o:p></div>
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<i>Jesusland </i>(arr. Michael Pigneguy)<o:p></o:p></div>
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<i>Concerto for Piano and Orchestra</i> (Ohio Premiere;
orchestrated by Joachim Horsley and Ben Folds)<o:p></o:p></div>
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<i>Landed </i>(arr. Paul Buckmaster)<o:p></o:p></div>
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<i>Fred Jones Part 2</i> (arr. Iain Grandage)<o:p></o:p></div>
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<i>Steven's Last Night</i> (arr. Graeme Lyall)<o:p></o:p></div>
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<i>Effington</i> (arr. Paul Buckmaster)<o:p></o:p></div>
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<i>Cologne</i> (arr. Jim Gray)<o:p></o:p></div>
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<i>Annie Waits </i>(are. James Ledger)<o:p></o:p></div>
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+Rock This Hall (aka Rock This B**ch) </div>
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<i>The Luckiest (</i>arr. Paul Buckmaster)<o:p></o:p></div>
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<i>Not the Same </i>(arr. Paul Buckmaster)<o:p></o:p></div>
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<i>Brick</i> (arr. Paul Buck master)<o:p></o:p></div>
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<i>One Angry Dwarf and 200 Solemn Faces</i> (arr. Iain Grandage)<o:p></o:p></div>
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<i>Narcolepsy </i>(are. James Ledger)<o:p></o:p></div>
<div class="MsoNormal">
Plus encores. </div>
<div class="MsoNormal">
All songs by Ben Folds<o:p></o:p></div>
<div class="MsoNormal">
Liza Grossman, <i>conductor; </i>Ben Folds, <i>piano. </i><o:p></o:p></div>
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<i><br /></i></div>
<div class="MsoNormal">
Last time I attended a CYO show the headliner was someone I had never heard of (Jon Anderson) and it was thoroughly enjoyable -- so when I heard this season was featuring a an artist I not only had heard of, but liked, I knew I had to buy tickets. So after a day in the office (my first in the past two weeks and my last for this week, but that's another story) Rachel and I headed to Severance Hall and once again I found myself perched in the front of Box 3. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first three pieces on the program were good, but not quite great -- I think the orchestra and Mr. Folds were struggling to find the right balance and the result was a little muddy (Rachel thoughtTh that Mr. Folds voice hadn't quite warmed up). The fourth piece on the program, a concerto for piano and orchestra was well delivered and interesting but its length seemed a little ouof place for a program otherwise overflowing with shorter pieces. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The program turned a bend and really picked up steam starting with <i>Landed</i> with a shimmering piano introduction and excellent balance. Likewise, both <i>Fred Jones Part 2</i> (about a newspaperman being forced out at the beginning of the traditional journalism downturn - a "waltz, as all sad songs about someone loosing their job should be:") and <i>Steven's Last Night </i>(a big-band-swing-feeling piece written for a recording engineer who was leaving town -- but had had another going away party a week prior) were beautiful works of collaborative art -- and Mr, Folds's introduction to the pieces was particularly entertaining. </div>
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<br /></div>
<div class="MsoNormal">
After intermission the program resumed with what has become my favorite Ben Folds piece -- <i>Effington </i>--- and the glorious opening phrase tonight voiced by three CYO members ("If there's a God, he's laughing at us and our football team" -- which could be Cleveland's anthem right there) and the on-stage improvisation of the piece in Normal, Illinois (<i>Effington</i> was a actually a misrecollection of <i>Effingham) </i></div>
<div class="MsoNormal">
<i><br /></i></div>
<div class="MsoNormal">
Continuing in the thread of on-stage composition, Cologne was also initially improvised on stage -- with Mr. Folds under the weather and with doctor-prescribed codeine (to which he commented that falling off stage head-first with a five foot drop and performing with a concussion was more enjoyable than the codeine-affected performance) and is also a favorite piece of mine. I was initially apprehensive that the live performance wouldn't live up to my "favorite" version (the "Piano Orchestra" version, putting aside the creepy German music video) -- but those fears were quickly assuaged with a rich and full bodied performance. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In between <i>Annie Waits </i>and <i>The Luckiest</i> was one of the most amazing things I have ever seen or heard on stage -- best titled <i>Rock this Hall </i>or <i>Rock This B--ch</i> -- Mr Folds improvised a piece leveraging all 116 musicians on the stage, bringing in one section at a time and occasionally changing his mind. I'm sure that this will wind up on YouTube within days (if it's not already there).</div>
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<br /></div>
<div class="MsoNormal">
The rest of the program was equally enjoyable, but I have an early flight tomorrow so I will leave my commentary here. It was, to say the least, an amazingly awesome show and I am blown away by the talent of the musicians, Ms. Grossman, and Mr. Folds. </div>
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<br /></div>
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Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?cyo+20140602" /></div>
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Brahms: <i>G major Sonata</i> (Isabel Trautwein, <i>violin</i>; Patti Wolf, <i>piano</i>)<br />
Mendelssohn: <i>Trio in C minor</i> (Isabel Trautwein, <i>violin</i>; Tanya Ell, <i>cello</i>; Patti Wolf, <i>piano</i>)<br />
At the home of Charlie Cowap and Rachel Rawson, <i>Shaker Heights. </i><br />
<i><br /></i>
While last night's season closing performance at the Cleveland Orchestra was delivered forcefully by a massive orchestra, today's season ending performance for Heights Arts' Close Encounters house concert series was no less impactful in an intimate setting with three extraordinarily talented musicians (two of whom --- Ms. Trautwein and Ms. Ell -- are also Cleveland Orchestra members)<br />
<br />
All thiree pieces on the program were musically stunning and a pure delight to listen to, although they didn't evoke strong imagery in my mind, which makes describing it challenging -- for many of the movements I found myself just closing my eyes and enjoying the feeling of the notes -- particularly the cello through its end pin -- resonate up through my legs while simultaneously hitting my chest and ears. On the flip side, Ms. Trautwein's violin -- particularly in the third piece -- was less than a yard from my face and the precise dancing across the fingerboard provided a captivating visual.<br />
<br />
The comment was made that Schubert's Arpeggione was composed not for the cello but for a "smaller instrument with more strings" -- however from the adept playing you would not have suspected (from Wikipedia it appears <a href="http://en.wikipedia.org/wiki/Arpeggione" target="_blank">Arpeggione</a> was the actual name of that instrument -- and it appears that instrument is essntially a "bowed guitar" -- and this piece had a very warm and tender air between Ms. Ell and Ms. Wolf<br />
<br />
The second piece, featuring Ms. Trautwein and Ms. Wolf seemed a little bit more somber and delicate than the first. The third and final piece, Mendelssohn's <i>Trio</i> united all three musicians for a tour-de-force, and a wonderful end to what turned out to be one of my favorite Heights Arts programs.<br />
<br />
Lincoln<img src="http://stats.lincolnincleveland.com/one.jpg?hts+20140601" /><div class="blogger-post-footer"><script type="text/javascript">
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