Cleveland Museum of Art: Music in the Galleries with Gregory Fulkerson, Violin (@ClevelandArt)

Bach: Partita no. 3 in E major, BVW 1006
Bach: Sonata no. 2 in A minor, BVW 1003
Bach: Sonata no. 3 in C major, BVW 1005
Gregory Fulkerson, violin
In Gallery 20, at the Cleveland Museum of Art

I've often thought that it might be nice to bring music into the museum's galleries -- at least one Member's party for a special exhibition included the sounds of a small chamber ensemble wafting through the galleries, and I was intrigued.

But until recently that was it. Earlier this month the museum began a series that will repeat monthly bringing music into the museum's art-filled galleries. The prior outings I've had previous engagements, but I was bound and determined to make it to this session especially after a comment on a different CMA post strongly suggested attendance.

Rachel and I made our way to the museum and then to the galleries about 20 minutes before the 7:30 starting time. On our way to the gallery hosting the concert (Gallery 20 in the 1916 building, just West of the Rotunda) we ran into a guard and upon answering in the affirmative to "Are you here for the concert?" he warned "It's going to be cozy...lots of people got here before you". Closer to the musical epicenter, one of the guards I know suggested that we grab stools on the way in. The gallery was comfortably full -- just enough room to breathe, and certainly an appreciative audience.

We caught the tail end of Associate Director of Music Tom Welsh's introduction before the concert quickly got under way with the mesmerizing Partita No. 3, the first movement of which (Preludio) provided a very lively and thrilling introduction to the evening as the notes resonated throughout the gallery it was impossible not to enjoy the movement. It took me a while to figure it out, but part of the reason the movement felt so familiar is that it is one of the few classically inspired pieces on my iPod--and one I delight in listening to over and over--in the form of violinist Vannessa-Mae's Bach Street Prelude. While the Bach Street Prelude has a decidedly energetic techno flair, Mr. Fulkerson's Preludio exuded no less energy and simply came alive in the galleries.

Rachel's favorite from the evening was the Gavoette en rondeaux, the third movement from the Partita, which had a delightfully lively dance like flare.

Sonata no. 2 took things much more slowly and sensually with the first movement (Grave) being particularly sensual and the third movement (Andante) played lovingly. The second movement (Fuga) had hints that reminded me of the Partita, and overall while my ears were soaking in the sounds, my eyes were delighting in the art in ways that I've never noticed while strolling the galleries.

Ending the trilogy was Sonata no. 3 with a slow delicate adagio first movement, leading into a danceish fuga second movement, in which I resisted the urge to kiss Rachel solely and barely because we were in a fulll view of a crowded gallery. I was apathetic about the third movement (largo), my least favorite of the evening, but the program ended with the lively allegro assi fourth movement. Closing my eyes, I picked up some hints again of the preludio though transformed and less closely related than in the earlier piece.

In the end though, it was a delightful evening of wonderful music in a nearly perfect setting.

Lincoln

Cleveland Museum of Art: Bassekou Kouyate and Ngoni Bu

I wasn't feeling well on Friday (And I'm still not feeling all that well this morning) but when I met Rachel last night she surprised me with tickets for that evening's Viva and Gala performance of Bassekou Kouyate and Ngoni Bu.

I had read the description, which sounded interesting and had I been feeling better I probably would have suggested it myself. Unfortunately the program got off to an inauspicious start more than 15 minutes past the announced starting time, and never really recovered.

Well... I can't say "never" because the longer the music went on, the worse I felt. We snuck out after the fourth piece, and it is entirely possible that we missed some dramatic turn. This, though, was the first time I left the museum feeling markedly worse than when I got there -- usually the museum is one of my medative spot, somewhere to recenter myself.

The program notes contained no set list and advised that the program would be announced from the stage -- but this seemed to be a bit hit-or-miss and when they were announced I couldn't understand them well enough to make note.

There were strong moments -- by the third piece I had closed my eyes and got the sensation of a lively dance around a campfire, eventually morphing into something that would sound more at home in a '60s club -- perhaps most clearly embodying the promise of a blend of traditional instruments and modern sounds and techniques.

-- but overall the audio mix was unnaturally bass heavy, distorting the sound, and by the fourth piece causing every one of the steady beats to hurt more than the last.

Also interestingly -- I'm not sure if it was the performance, the audience, or just my state of mind -- it was one of the flattest and most two-dimensional. From my seat at the back of the Gartner Auditorium's balcony it seemed more as if I were watching a film than a live performance; there seemed to be no audience<->performer dynamic.

(With Bassekou Kouyate, lead ngoni & ngoni ba; Amy Sacko, lead & backing vocals; Fousseyni Kouyate, ngoin; Moussa Bah, ngoni bass; Alou Coulibaly calebasse; Moussa Sissoko, percussion; Moustafa Kouyate, ngoni)

Lincoln

Cleveland Museum of Art: Schola Cantorum de Venezuela (Viva & Gala)(@ClevelandArt)

If it seems like many of the recent posts have revolved around the Cleveland Museum of Art it may because of how accessible -- both physically and psychologically -- the institution is--and how much there is going on at any given time . Tonight I had driven to the Museum to find Rachel in the galleries, but when I walked into the North lobby I bumped into Tom Welsh, the museum's Associate Director of Music, who had asked if I was planning on attending the concert.

"Concert? Tonight?" I asked momentarily confused and he mentioned the Schola Cantorum de Venezuela -- a Venezuelan choir. Not knowing if Rachel would be up for it I didn't commit, but when I found her hiding in "A Passion for Prints: The John Bonebrake Donation" she was also interested so we made our way back to the lobby.

I initially confused the ticket seller by asking for "two tickets" -- For what, she needed to know: The film, The lecture, The exhibition, The Choir. Confusion resolved and tickets in hand we found or way up to our seats on the balcony. My first time up there, I was interested to see how it would compare: While it offers a great vantage point, I felt a bit emotionally distant from the performers on stage.

The program assembled by the Schola Cantorum de Venezuela -- hailing from a country as known for its musical culture as anything else -- came in two parts: Aqua (Water) and Fiesta (well...Fiesta) with the Fiesta generally bolder and a bit more lively.

While I'm generally attracted to sharp contrasts, in Agua the subtle variations in texture from piece to piece and between voices within a piece were mesmerising, and the relative even keel of that half of the program created the perfect mood for some quality meditation. Cloudburst, "a ceremony, a celebration of the unleshed kinetic energy in all things" was a favorite the program with bold statements performers and the perfect vocal representation of rain (along with support from a handful of instruments). In the next piece, Binnamma, the rise and fall of voices sounded like the ebb and flow of waves. Closing out the first half, Yemaya, with soloists Paul Sojo, Javier Silva, and Victor Gonzalez, was a very light, happy, and moving choral piece and was my favorite from the first half of the program.

After intermission the show resumed with Primavera Portena from Las Cuatro Estaciones (Spring in Buenos Aires from The Four Seasons) with the program note that "the four tangos that comprise The Four Seasons are instrumental and in this program, the chior [sang] them with instrumental accompaniment." -- of course, a fiesta should start with a tango! Mule Rendeira (Lacemaker Woman) with percussion was hypnotic and rythmic. Cerezo Rosa (cha cha cha) was a lively dance, and all of the other pieces in the program were likewise lively and enjoyable. I'd be remiss to not mention Besame Muchowith the translated lyrics "Kiss me, kiss me much...", Son de la Lomay (They are from the Hill) with a good rhythm and, to borrow a lyric "con suis trovas fascinates que me las quiero aprender" [and I want to learn their fascinating rhythm].

The program ended with Nuestra Navidades (Our Christmas) including a bit of an audience sing along and concluding with a true fiesta on stage -- including a couple who had been dancing in the aisle joining the chior.

Lincoln

Part I: Aqua

Calcano: Evohe (Text: Planchart; Venezuela)

Castellanos: Al Mar anochecido (To the sea in twilight) (Text: Jimenez; Venezuela)

Whitacre: Cloudburst (Text: Paz; USA)

Golijov: From Oceana (Text: Neruda; Argentina)

A. Grau: Binnamma (Spain/Venezuela)

G. Grau: From Aqua (Text: Palacios; Venezuela) [Cancion de los rapidos remeros (Song of the Rowers); Yemaya

Part II: Fiesta

Piazzolla: From Las Cuatro Estaciones (The Four Seasons) (Arr. Escalada; Argentina) [Primavera Portena (Spring in Buenos Aries)]

Brazilian Folk Song: Muile Rendiera (Lacemaker Woman) (Arr. Fonseca; Brazil)

Lopez-Gavilan: Mambo que rico e (Mambo, how nice it is) (Cuba)

Ruffino: Cerezo Rosa (cha cha cha) (Arr. Alvarado; Cuba/Vinezuela)

Frometa: Toy Contento (Arr. Sauce; Venezuela)

Zapata: El Menciona'o (The Named One) (Arr. Ruiz; Venezuela)

Velazquez: Besame Mucho (Arr. A. Grau; Mexico)

Matamoros: Son de la Loma (They are From the Hill) (Arr. A. Grau; Cuba)

Galindez: La Arestinga (Arr. A. Grau; Venezuela)

Barros: Engo una forma mas (I have another way) (Arr. Raga; Cuba)

Rojas: Nuestras Navidades (Our Christmas) (Venezuela)

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CMA: Viva & Gala: Garth Knox Viola d'amore

Hume (arr. Knox): Pavane (1605) for viola d'amore
Ariosti: Prima Lezione (1720) for viola d'amore and cello
Knox: Malor me bat (2004) for viola d'amore and cello
Sciarrino: Notturni brillanti for viola
Knox: Viola Spaces for viola and cello
Marais: Les Folies d'Espagne (1685) for viola d'amore and cello
Traditional (arr. Knox): Celtic Melodies for viola d'amore and cello

A complete spur of the moment decision lead me from Mixon Hall at CIM to Plymouth Unitarian church in Shaker Heights for this evening's "Viva and Gala Around Town" performance featuring Garth Knox and his viola d'amore. I was interested for one because unlike a "normal" violin, viola, or cello which each have four strings, the viola d'amore has 14, 7 of which are played and the remaining 7 are "sympathetic" and are not directly played but instead resonate.

The music was interesting and Mr. Knox's commentary and explanation was both on point and informative. I believe Prima Lezione was may favorite piece; the three-turned-four movements of Viola Spaces certainly featured some unusual playing methods and some equally unusual sounds, and I'm torn between calling "Nine Fingers" or "One Finger" my favorite movement from that work.