On The Road Again: Dayton

"There is something-exciting-about leaving everything behind. There is something-deep and pulling-about leaving everything behind. Something about having everything you think you'll ever need sitting in the seat next to you.

And I watch another white dash / another white dash / another white dash fly beside us" -- Butterfly Boucher, Another White Dash.

My day job features a decent amount of travel: More nights spent in hotels than I can count in 2010 and it looks like 2011 will have at least the same amount of travel.

Previous years have been a blend of local and distance, but last year seemed to be mostly local projects -- Columbus and Pittsburgh ad naseum. I enjoy driving, cranking my iPod to an extent. Of course, the mileage reimbursement checks are nice given that as near as I can tell the actual cost of operating my vehicle is far less than the standard ($0.51/mile) reimbursement rate.

I enjoy driving highways for the first timeand long stretches on back roads and country highways, where the new sights keep me alert and intrigued. Driving the same roads over and over, on the other hand bores me*... honestly I prefer flying.

This week, though, I found myself in Dayton for the first time in a couple years and the wonderful sense of humor that some Southern Ohioans had amused me in between the passing of every other white dash: There's Newcomerstown, Mechanicsburg, and Mechanicsville (one wonders how many newcomers and mechanics habitate in their namesakes).

There's a county named Delaware -- for a long time the freeway side sign simply said "Entering Delaware", though on this trip I noticed a "County" has joined it. In Delaware county there's a town named Wilmington. It's quite startling for a road-weary driver to suddenly happen on a sign proclaiming that you're "Entering Delaware" only to be followed by a "Exit XXX -- Wilmington -- 1 Mile".

There's the perpetual road construction between Columbus and Dayton on Interstate 70; it seemed to be at exactly the same state of progress as the last time I drove to Dayton.

There's the hotel I always stay at when I visit that part of Dayton. As homogeneous as each member of that particular chain becomes on the inside; their environments are as distinct as ever. Last night when I checked in I was merely tired -- abandoning my normal "try something local" dining strategy for a quick fix. "There's a McDonald's right over that way, right?" I ask while checking into my hotel room and simultaneous gesturing over my shoulder. The clerk takes a moment to think, "Yes there is."

Fortunately on this trip the weather cooperated and there was only light snow on the trip down and a bit heavier on the drive home. I considered doing the back roads -- coming back from Ada, Ohio, for example, my favorite is to take the 2-lane "Old US 30/Lincoln Highway", where you can drive for an hour or more without seeing another car -- but especially with the cold temperatures I'm hesitant to venture too far from the well traveled routes.

And now I'm home.

Lincoln

*- Though when I moved to California to Cleveland I drove the 2400 miles at a rate of just over 800 miles a day with 10-12 hour days. My butt was sore, and I didn't want to touch a car for a week.

Heights Arts House Concert: Bruch, Cohen, Trautwein, De Falla, Wolf, and Prokofiev

de Falla: Suite Popular Espanola for Violin and Piano
Ysaye: Obsession (first movement from the second sonata for Violin Solo, op. 27, 2)
Bruch: Movements II, V, VI from Eight Pieces for Clarinet, Viola and Piano, op. 83 no. 6
Prokofiev: Sonata Op. 94 (trans. for Clarinet by Kent Kennan)
Franklin Cohen, clarinet
Isabel Trautwein, violin and viola
Patti Wolf, piano
at the Rawson/Cowap Residence, Shaker Heights.

The fact that this was my second house concert in three days may be a hint that I love the format. As with Fridays event in my living room, today's concert in Shaker Heights featured two Cleveland Orchestra musicians whom I have a deep respect for, along with the Heights Arts introduction of pianist Patti Wolf, a temporary import from St. Louis who is a long-time friend of Ms. Trautwein.

Aside from the given of great music by fantastic musicians in an intimate environment, both of this weekend's concerts also displayed how refreshingly normal and humble the talented musicians who call Cleveland (Heights) home truly are. The music of this afternoon's concert was punctuated by a a brief demonstration Ms. Trautwein of teaching music through Venezuela's El Sistema which included vocalization from the audience and 5 plastic cups, and Mr. Cohen making several jokes at his own expense.

Both Ms. Trautwein and Mr. Cohen had turns at page turning for Ms. Wolf, making a tie for what was quite possibly the most overqualified person to fulfill that role.

The music, of course, suffered nothing from the relaxed atmosphere.

The program opened with the six movements of de Falla's Suite Popular, which was delightfully unlike anything I can recall hearing at a house concert before: A distinctly Spanish sound and two flamenco dances (Polo and Jota) were particularly lively [and difficult to resist toe tapping to].

Next was the aptly titled Obsession for solo violin which was just entirely wonderful. Before playing, Ms. Trautwein commented that it borrowed from some very well known Bach in the beginning: Indeed, it was so well known (and so well played) that even I, with admittedly little solid knowledge of the classical canon, was able to identify the source as the first movement from Bach's Partita No. 3 In E*. It is, of course, impressive that something that moves so quickly can be played with such clarity.

Following wine and dessert at intermission, Ms. Trautwein traded her violin for viola and the audiences was treated to three wonderful movements from Max Bruch's Eight Pieces for Clarinet, Viola, and Piano. I think the second selection, the fifth movement (Rumanian Melody, andante) was my favorite from the evening; and when I allowed my eyes to close the blending of the three instruments was so fine as to be not nearly seamless, but seamless without qualification.

Closing out the program was Prokofiev's Sonata op. 94, originally for piano and flute but transcribed for clarinet by Kent Kennan, and it received a wonderful introduction by Mr. Cohen on Prokofiev's background and run-ins with authority. Prokofiev apparently had the type of personality that enjoyed a terrible review. Mr. Cohen noted that he's received terrible reviews and doesn't particularly enjoy receiving them, though with performances like those this afternoon it's hard to imagine. The second and fourth movements were particularly wonderful to listen to.

And again, anyone who wants to try my living room: Email L at LincolnInCleveland dot com.

Lincoln
* Confession: Part of the reason I was so quick to make the connection was I'm a fan of Vanessa Mae's Bach Street Prelude, a slightly modern take on the same material -- but it's so much more captivating live.

Cleveland Orchestra: Welser-Most Conducts Bartok

Hosokawa: Woven Dreams (World Preimere)
Bartok: Piano Concerto No. 2 (Pierre-Laurent Aimard, piano)
Takemitsu: Garden Rain (For Brass Ensemble)
Bartok: Music For Strings, Percussion, and Celesta

I try to avoid reading reviews of anything I see or hear before I've seen or heard it, yet, as several of my guests for Cleveland Orchestra Cellist Ms. Tanya Ell's amazing performance in my home last night had also attended the Thursday performance of the same program some discussion naturally occurred. (As an aside, I slept very well today)

As one of those guests observed the two Bartok pieces were actually the oldest on the program.

The common thread, aside from being new that seemed to tie the pieces together, was a sense of quiet.

First though, to get the undesirable out of the way, the third work on the program: Takemitsu's Garden Rain. For as many "new" composers as there are I wish I could understand why Mr. Takemitsu's works are programmed with such frequency. This is now the fifth encounter I've had with this composer's work and the nicest thing I can think to say is that I'm bored by it. Worth noting was impressive control at relatively low volume from the brass ensemble, and the odd relationship of conductor to ensemble: With Mr. Welser-Most at the stage apron and the brass at their usual location upstage, he seemed to be conducting across a desert of empty chairs; it looked as if three-quarters of the orchestra had simply not shown up.*

Opening the program, Woven Dreams, a world premiere by composer Toshio Hosokawa had such a wonderfully quiet and subtle introduction that Mr. Welser-Most had been on the podium for several seconds before I realized that the music had started. Slightly ethereal, it seemed to me as if it would be a strong contender for a science fiction soundtrack. After the work had concluded I read the program note wherein Mr. Hosokawa describes channeling feeling of being birthed from the womb and the fear of the unknown: Listened to from that perspective, the work lacks no clarity, and it's an emotion that stands crystal clear.

Unfortunately at this performance Woven Dreams was accompanied by an incessant cough from somewhere in the audience and the early punctuation of a ringing cell phone (The expression on the face and I give up hands-in-the-air gesture of the Cleveland Orchestra executive in the box to my left spoke for much of the audience)

In Bartok's Piano Concerto the first movement neither grabbed my ear nor seemed very Allegro-esque. By contrast the second movement was lovely, particularly the adagio with which the movement opens -- but I didn't find it terribly compelling.

Closing out the program, Bartok's Music for Strings, Percussion, and Celesta made the evening worthwhile. Again beginning with a quiet and tranquil tone (not good for someone a bit tired), the fourth movement (Allegro molto) seemed to be the ideal release for all of the energy pent up by the orchestra over the preceding pieces, like a bulldog that has finally broken free of its chains. Since this is the Cleveland Orchestra and not a bulldog, of course, there was no lack of precision accompanied by the vigorous release.

Lincoln
*- For an orchestra going for a sight gag, programming this as the first work on a concert, particularly on a night with severe weather conditions may generate some conversation.

Tanya Ell, Bach Cello Suite No. 4 (In my Living Room)

Bach: Cello Suite No. 4 in E-flat major, Bvw 1010
Tanya Ell, cello.
at My Living Room, Cleveland Heights.

In October, Heights Arts celebrated their 10th anniversary on 10/10/10. A silent auction offered a variety of local arts with the proceeds of the auction to benefit Heights Arts. Tanya Ell, a member of the Cleveland Orchestra, a fantastic cellist, and long one of my favorite musicians, offered herself playing one of Bach's Cello Suites in your home.

I couldn't resist the urge to start the bidding, knowing full well that I would not be the ultimate winner. As the auction progressed a mutual acquaintance snuck up behind me and asked "So, how high are you going to bid on Tanya?" "Like all great artists, the true value is higher than I can afford" was my answer at the time. Ultimately I was the second highest bidder; Ms. Ell was generous enough to offer a second performance. I wasn't passing that opportunity up.

That gets us to tonight: I've been interested in entertaining for a while but there's high inertia: When? Why? and most dauntingly: How?

With wine from my trip home over the holidays (and some supplemental bottles), food from Clyde's Bistro and Barroom just down the street (Thanks to Vivian, the general manager, for an excellent spread and advice that went far beyond catering), some chairs and serving wear borrowed from a friend, the conversation was easy and long lasting -- both before and after Ms. Ell's recital.

And what a recital. Tanya always has a beautiful sound. This was the first time I've heard her play solo and her sound was as intoxicating as any wine; as sweet as any desert. The vibrations resonated as soundly through the feet, up the legs and into the soul as they did off the walls and into the ear. Though Wikipedia notes that "Suite No. 4 is one of the most technically demanding of the suites since E-flat is an uncomfortable key to intonate on the cello and requires many extended left hand positions" one would not get this sense from Ms. Ell's effortless playing. The warm sound warmed the body on a blustery winter night, and in short, this was one of those rare performances that left me tingling.

Between movements and well after the music had finished Tanya shared a wealth of information about the music and fielded questions from the small audience displaying a wonderful knowledge not just of the music on the page but the theory behind the music. As an unexpected bonus, she also played a well-known movement from Bach's First Cello Suite, practically on demand and again seemingly without requiring any effort on her part.

And the true value was much higher than the my winning bid. It was, indeed, priceless.

I can honestly say that my living room has never sounded better.

I had feared that the group would scatter rapidly after the music had finished, but good conversation--matched with the balance of the food and wine--continued for quite a while after the music had stopped.

The words to aptly describe the evening are failing me at the moment, so I shall stop trying now.

I'd say my first foray into entertaining was a success, in no small part to Ms. Ell's generosity and the help and support of everyone who played a part in keeping me sane this week.

Anyone who wants to play a small recital in my living room... I'd be glad to have you!

Lincoln

(p.s. lest anyone have any ideas: As I told someone once, I never claim to be unbiased; I merely claim to be aware of my biases)

Confessions of a Nervous Host: Part I

Friday evening will be the first time I've ever hosted an event... The first time I've had more than two people in my home at the same time... The first time I've placed a catering order.

And I am freaking nervous.

Even if it weren't the first time I was hosting an event, I think I'd be a bit nervous, but the impetus for the get together will make for a truly special and fun evening -- but I kind of feel like it would be nice to have had some practice before hand (but what reason would I have used?)

There's another reason for nervousness that need not be discussed publicly, at least not at this point in time.

The guest list has been finalized and the number is lower than what I originally set for myself as a goal, but in hindforesight (yes, I am making up words) I think the number I have is good. While I had originally been fearful that I'd wind up with a room full of either completely identical or radically different people, I think that there should be a good mix for conversation.

My house is I think the cleanest it's been since I moved in, yet I'm still concerned that it's not clean enough.

Tending to hang on to things longer than I should, I've used this event as an excuse to declutter and organize my house. My garage leaves a bit to be desired, but, it is, after all a garage.

I am so thankful for the friends who have helped keep me in check -- everyone from my hair stylist ("If you've invited them into your home and they don't have a good time, well screw them!") to a close friend ("Just relax, have fun, and whatever will be will be") and Vivian, the general manager at Clyde's Bistro and Bar Room who is being quite generous with advice, food suggestions, and things that I certainly wouldn't have thought of on my own. Those three people, have really helped take the edge off.

And you know what? No matter what I'm going to have fun. And it ultimately supports a cause I'm passionate about (no, that cause is not myself.)

I'm really looking forward to it.

More details will come Friday evening.

Lincoln

Cleveland Orchestra: Martin Luther King Jr. Celebration Concert

Key: The Star Spangled Banner (arr. Damrosc)*
Johnson: Lift Every Voice and Sing*
Verdi: Overture to La Forza del Destino (The Force of Destiny)
Mendelssohn: Rise Up, Arise from Saint Paul, op. 36**
Mozart: Allegro from Violin Concerto No. 3, K.216 (Randal Goosby, violin)
Rutter: Alegro vivace from Gloria**
Hoiby: I Have A Dream (words by King, Jr., Brian Keith Johnson, baritone)
Steffe: Battle Hymn of the Republic (Words by Howe)*
Traditional: Elijah Rock (A Capella)**
Traditional: Soon Ah Will Be Done (A Capella)*
Halistork: Epitatph for a Man Who Dreamed - In Memoriam: Martin Luther King, Jr.
Traditional: We Shall Overcome (words by Tindley and others, arr. Brown, Jr.)
Three Unannounced Encores (Two for choir and orchestra, one A Capella)*
Willie Anthony Walters, conductor; *- Central State University Chorus and Celebration Chorus; ** - Central State University Chorus (William Henry Caldwell, director)

(The Musicians of the Cleveland Orchestra donated their services for this evening's concert)

For the past few years I've been interested in attending the Orchestra's MLK concert, but invariably by the time I know tickets are available there are no more tickets to be had. Today the stars aligned. As the end of the published program came, my initial thought was "well, I definitely won't need to do this again." -- three quite enthusiastic encores later, I'm not quite as definite, and kind of feel like finding a gospel church service.

The concert was perfectly adequate, but when presented by an organization who barely has adequate in a dusty corner of its vocabulary it is disappointing, and accompanied by what was by far the rudest audience I've encountered in Severance (patrons coming and going while music was playing, incessant crinking of celophane, and most irritatingly several full-blown, feature-length conversations amongst patrons seated within a few rows of me)

Before discussing the music, something pre-concert bothered me: I've written in the past about my dislike of General Admission seating in large venues; this concert was general admission. With that in mind I arrived well before the 7pm concert start time. Seating began at 5:30 and after finding that my first four preferred areas in the hall weren't actually open for general admission, I wound up in the lower balcony; I selected a seat on an aisle and settled in. At about 6:15 an usher asked if I would mind moving in to to the middle of the row because another patron would like my seat. "I'm sorry, no." she asked again. "I'm sorry. No." -- this was incredibly rude on the part of the usher--implying that though I had arrived early to secure my seating preference, I should give it over to someone who arrived nearly an hour later. But she asked a third time. "I am sorry. NO." Had she asked a fourth time, I think my answer would have been less polite, and possibly in the only other language I speak*: Je suis desolee, non.

If General Admission seating is to be used, ushers should be aware how incredibly disrespectful it is to ask a seated patron to move more than once, let alone the uncomfortable position it puts the patron being asked in.

Ok, that little rant aside... generally, the orchestra sounded dull and when the choir(s) and orchestra were performing together, the sensation was difficult to describe: It wasn't that the orchestra was getting lost under the chorus, or the chorus was getting lost under the orchestra but at times during the first half of the concert it seemed that both were happening simultaneously.

The first several pieces were almost completely unremarkable, save for the fact that all of the musicians (save for the difficulty that would pose for the cellists) stood for The Star Spangled Banner, something I've not seen before, but certainly a show of respect worth repeating. Randall Goosby, the quite talented young violinist playing the solo portion of the Allegro from Mozart's third violin concerto was a highlight of the evening with beautiful technique and a great sound.

I had heard baritone Brian Keith Johnson sing baritone in the Wexford Carol during the Cleveland Orchestra's Christmas concerts and was a fan; tonight I wasn't quite as fond of Mr. Johnson's performance, but I think the selection of works had more to do with it: The I Have a Dream speech is forceful in not just because of its naked words, but in their punctuated delivery. When set to music, at least with this arrangement, it looses the punctuated delivery and a large portion if it's moving force; it didn't help that Mr. Johnson was difficult to hear over the orchestra.

The second half of the program was much stronger; Battle Hymn of the Republic was moving and perhaps the best balance between chorus and orchestra of the evening.

The promise of Elijah Rock was a large part of the reason I stayed through intermission--having enjoyed it when I heard it during the Blossom Festival Season; tonight's A Capella presentation sung by the Central State University Chorus was energetic, clear, and just plain fun, with some humorous displays of talent sprinkled throughout.

I think the full title of Epitaph for a Man Who Dreamed may take longer to say than the piece did to play, but it was wonderfully somber tribute.

The three encores -- the first A Capella, the latter two including chorus and orchestra -- saved the evening; though I couldn't actually understand any of what was being sung (and can't even guess what they were) the energy coming from the stage and reflected by the audience was delightful to listen to.

Lincoln
*- for very minimal values of "speak".

Cleveland Orchestra: Fridays@7: Heroic Strauss

Wagner: Overture to Tannhauser

Strauss: Ein Heldenleben ("A Hero's Life") (William Preucil, solo violin)

Franz Welser-Most, conductor

Post concert entertainment by Mango Blue

Tonight, it seems, was an evening of small-world connections: Before the concert I bumped into a friend of a friend whom I had met just a week ago (and her boyfriend); after the concert I met several people whom I've crossed paths with before and one whom I had not met before but with whom I share a common professional vocabulary ("Technical Theater", "DMX", "Extron", "Crestron", and the name of one of my clients). Such is the Fridays@7 program: A mix of the old and new, the familiar and unfamiliar converging for a delightful evening.

(Side note: the way-unconfirmed rumor mill has it that the neighbor/renter who's home was hit by last weekend's Over the Parking Lot and Through The Woods incident is a new member of the Cleveland Orchestra staff-- if you read this, stop by and say hi sometime!)

This weekend also forms a portion of the Orchestra's Subscriber Appreciation month; while my status as a subscriber is debatable (though I attend every concert weekend--more than is actually included in a subscription--for financial and scheduling reasons I purchase single tickets, but I am a Celebrity Series subscriber) I donned the "The Cleveland Orchestra Subscriber" blue ribbon next to my standard violin lapel pin -- I will seldom turn down the chance to show support for a Cleveland institution, particularly one so great as the Orchestra.*

For the tradional part of the evening both peices -- 0ne an overture, the other consisting of six movements played without pause -- semeed good choices for an audience that was a clear mix of first timers and seasoned veterens. First-timers often applaud between movements, a practice flooked upon with derision by many veterens and with this presentation the possibility for faux pas was completely avoided.

The Orchestra, though, did not pull any punches: Both pieces were played with the typical quality and enthusiasam, leaving a thoroughly enjoyable product. In the overture to Tannhauser, the opening seemed melencholy, yet the triumpent ending in the brass played over a still melancholy bed of strings seemed to signal a victory of confidence.

Likewise, in Strauss's A Hero's Life, it was not so much music that was pasively listened to but muisic that stuck and resonated within the body. I was particularly oved by the firt, second, and fourth movmenets (The Hero, The Hero's Adversaries, and The Hero's Battlefield, respectively), but William Pruecill's solo violin was stunning in its beauty, as was the play between the solo first and second violins. The remainder of the strings were solid, and received quite a workout. The coment by one menber that ot was the most notes that they've had to play in recent memory was not hard to fathom.

Following the formal concert, Mango Blue provided entertainment with a bit of spanish flair in the foyer that was toe-tappingly fun, and I stayed through the end -- with a growing number of couples dancing in Severance Hall's grand foyer.

Several hundred Groupons were sold for tonight's concert; with an experience like tonight it's not hard to imagine that there will be many repeat customers out of that group.

Lincoln

*- Speaking of which, does anyone know where I can get one of the "TCO" bumper stickers? I've looked for them in the Orchestra gift shop but haven't found them so far.