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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Cleveland Museum of Art: Bulletin of the Museum 1950- (@ClevelandArt)

I had planned on attending a facility recital at the Cleveland Institute of Music tonight, but when I got over to University Circle I couldn't find a parking space, so I returned home. My Grandmother sent a collection of things from my late grandfather -- including a publication dating from 1911 -- which reminded me it's been a little while since the last installment of my Bulletin of the Cleveland Museum of Art retrospective. The complete series, starting with an issue from 1915, can be found here.

September 1950. Thirty-Seventh Year. Number Seven. This bulletin, with a cover featuring a picture of smiling children in the "Junior Museum" is virtually entirely a schedule of events, including "Free Entertainments" for young people Saturday Afternoons at 2:00pm "These programs will consist of films, music, plays, marionette shows, and illustrated talks. Children under six not admitted; adults not admitted until 2.00p.m., and only if seats are available. For a monthly calendar of these events, apply to the Educational Department".

On October 13, Harry Fuchs, a cellist who's name was instantly recognizable and who served the Cleveland Orchestra for nearly 40 years (including the Principal and Assistant Principal chairs) presented a cello recital, and a series of lectures, films, and chamber music  presents a full schedule. Walter Blodgett, Curator of the Department of Musical Arts, continues a series of weekly informal organ recitals

January 1954. Forty First-Year. Number One. A two-year gap exists in my collection of bulletins, but in the centerfold of this issue proves interesting in light of the current Fu Baoshi exhibition: Rocks Orchids and Bamboo, a 1952 acquisition, credited to Shih-t'ao, Chinese from the 1600s. Accompanying the piece, a note, authored by Sherman E. Lee -- four years before being appointed as Director of the museum--an appointment some credit for the museum's tall stature today. That note includes a quote from the artist "I am always myself and must naturally be present in my work. The beards and eyebrows of the old masters cannot grow on my face. The lungs and bowels (thoughts and feelings) of the old masters cannot be transferred into my stomach (mind)."

February, 1954. Forty-First Year. Number Two: Part One.  The Library -- before it adopted the Ingalls name -- is declared to have become a "mine of information" with the acquisition of 29 of the then 36 "coveted volumes of the Old Series of Jahrbuch der kunsthistorischen sammlungen des allerhochsten kaiserhauses. [Google Translate is saying Yearbook of the Art Historical Collections of the Imperial House] The first volume appeared in Vienna in 1883 and the publication is still continued in the New Series". Googling, I can't determine if the New Series is still being extended. The Library is also proud of its acquisition of a complete set of the Societe francaise d'archeologie, published since 1834 "and still in full force". It was still in full force in 1954 and it's still in full force -- now online -- in 2011 with volume 169.

Museum Membership stands at 4,549.

April, 1956. Fourty-Third Year. Number Four. The current renovation and expansion project is not the Museum's first, as this issue opens with photos of the progress and "The progress of the new wing of the Museum is increasingly evident with the erection of the greater part of the steal framework. Only the sections where it will join the present building remain to be set in place" -- It continues, with words that can be taken to heart with the complete enclosure of the new Atrium and West Wing today -- "From now on the progress will be far less evident. On a monumental building such as this, the setting in place of the granite walls [...] and other interior equipment will be at best a lengthy process"

The membership has jumped considerably with a long list of new names and a total membership of 5,902.

September 1956. Forty-Third Year. Number Seven. The cover of this has photos of the 1958 Building -- now demolished -- well under construction, but is otherwise a schedule of events for the next quarter, and nothing particularly notable was noted. It is worth noting though the a subtle evolution in the typesetting was noticed leafing through this issue.

February 1957. Forty-Fourth Year. Number Two: Part Two. More pictures grace the cover of this issue, showing the West Section of the 1958 building connecting to the 1916 building. Now demolished, the land that this building sat on will soon become the "Living Room" of the Museum -- the magnificent new atrium. Again, though, the issue is entirely a schedule of events -- and one that seems to be thinning, perhaps in anticipation of...

April 1957. Forty-Fourth Year. Number Four. "THE CLOSING OF THE MUSEUM" proclaims a headline on the last page of this issue, "The Museum closed to the public on April 1. This decision   was in part necessary because of the plans to re-adapt the present building to new and changed uses, but it was caused by the impossibility of protecting and safeguarding the collections without proper air conditioning and dust control." Further, "During the period the Museum is closed, the Library will continue its services in the Department of Slides and Photographs. However, the borrowers will have to indicate their needs by telephone and the slides or photographs desired can be called for at a new temporary entrance at the West End of the New Wing." and "The public will have no access whatsoever to the building when it is closed."

It concludes with this note from then-Director  William M. Milliken that echos today: "The sacrifices that must be made during the period of transition will be met, one is sure, in the same generous spirit which has marked every relationship between the public and the Museum. The date of completion is not far distant [...]"

During this time, the Museum has encamped at the "Old Art School" on Juniper Drive. While I haven't been able to determine the precise location though this item from the Cleveland Memory Project indicates the intersection of Juniper and Magnolia Drives; if so, that facility -- even that intersection -- is now buried under a Case Western Reserve University Student Residential Village.

With this post turning wordy... I'll save the rest of the 1950s for next time.

Lincoln

M.U.S.i.C: Classical Cabaret Program No. 4

Sarasate: Romanza Andaluza #^%
Gustavino:  La Rosa y el Sauce, Jardin de Amores, Nana del Nino Malo, Elegia, Gerografia Fiscia^§ 
Ginastera: Pampeana No. 2, Op. 21^ª
Ginastera: Cinco canciones populares argentinas: Chacarera, Triste, Zamba, Arrorro, Gato^²
Albeniz: Leyenda ^%³
Shchedrin: A la Alveniz (arr. Dokshizer)^%³
Cristancho: Jose Morales Bambucco¹
Calvo: Arabesque¹
Granados: Intermezzo (from Goyescas)
Bizet: Ouvre ton coeur^§
Weil: Youkali^§
Piazzolla: Historie du Tango-Bordel 1900-Cafe 1930-Nightclub 1960#¤

#- Iryna Krechkovsky, violin; ^-Javier Gonzalez, piano; %- Gina Petrella, castanets; §-Gabriela Martinez, soprano; ª-Marlene Ballena, cello; ²-Miguel Amaguana, tenor; ³-Josh Rzepka, trumpet; ¹-Felepe Calle, piano; ¤- Gideon Whitehead, guitar.

Something I've often wondered--but been afraid to ask out loud--is with the plethora of music world-class conservatories in Northeast Ohio (The Cleveland Institute of Music, Oberlin, and Baldwin-Wallace to name just the first three that come to mind) what happens to the talented students immediately after graduation.

M.U.S.i.C (Musical Upcoming Stars in the Classics) answers that question by providing paid performance opportunities for those upcoming artists. Though I had not previously heard of M.U.S.i.C (their website can be found here), Artistic Director Jodi Kanter invited me to this concert at the Hanna Perkins Center in Shaker Heights. Being perpetually amazed at the variety of arts outlets in Northeast Ohio -- I gladly accepted, though I didn't know what to expect.

First, the venue, a gym/auditorium at the Hanna Perkins Center in Shaker Heights (originally built as the Malvern School) has been gloriously preserved/maintained/restored -- building oozes 1930s details, but lacks any hint of accumulated dirt or grime to dull the services. before the performance I had some doubts about the acoustic sanity of performing in a gym, but as it turns out the room was satisfactory: Drinks and light snacks were available before, during intermission, and after the concert and the feel was generally very laid back -- it was certainly one of the most social groups I've attended a concert with.

Though I found the second half of the program more compelling than the last half, the first half wasn't without its highlights, I particularly enjoyed Papeana No. 2, Op. 21 and the interplay between cello and piano: While at times the two instruments seemed to exist in separate spheres, at others the two seemed to be chasing each other. On the other hand, Albeniz's Leyenda seemed rather rough around the edges...but Mr. Rzepka's trumpet aptly recovered in the following A la Albeniz which struck me as something you might enjoy in a smokey cafe.

The musicians returned after intermission offering a lively piano for Jose Morales Bambucco, then another great performance from cellist Marlene Ballena who;s impassioned and energetic Intermezzo from Goyescas evolved into a slow embrace and I think was my favorite piece of the evening. Closing out the program Piazzolla's Hustorie du Tango stopped at three scenes: A 1900 Bordel, a 1930 cafe and a 1960 Nightclub and provided colorful tones throughout; my favorite (and I think the most lively) was the 1960 Nightclub which echoed the traditions established in the prior scenes but took things up a notch and included Ms. Krechkovsky playing behind the bridge among other novel techniques.

The next concert is scheduled for December 4th as their 4th Annual Hotel Brunch/Concert, with time, location, and program to be announced.

Lincoln

Tri-C Presents: Daniel Bernard Roumain (DBR): Symphony for the Dance Floor

I don't think I've ever actually attended a Tri-C Presents event before...and I'm not entirely sure how I wound up on their mailing lists... but when I saw the mailing for Daniel Bernard Roumain's, also known as DBR, Symphony for the Dance Floor, I was instantly intrigued.

When I first looked at the dates I thought it was last weekend -- which was already booked solid by the time I saw the event -- but Rachel pointed out that it was actually this weekend, and with the Orchestra in Europe my Saturday evening was thankfully open -- and we took the opportunity to visit Tri-C's Metro Campus.

Though sparsely attended Mr. Roumain gave a dazzling performance that tickled every sense except smell. Blending classical (Mr. Roumain plays a 5-stringed violin) hip hop (Lord Jamar serves as both MC and DJ)and who knows how many other traditions of music, dance, and verbal and visual storytelling traditions. Via the program note, DBR relates the inspiration for the work came from the tragedy of the Haitian earthquake: "As a composer, my initial thought was to create some large, solemn requiem for Haiti. But as a Haitian-composer, I realized that would be wrong. What was needed was apiece that was vibrant, moving and alive!"

The staging was unique and the first sign that we were in for something different: The majority of the audience was seated on stage, facing each other, with a narrow "runway" of sorts covered in Marley separating the two halves.

The end result certainly all of those. Though some symphonic techniques were clearly recognizable -- like the fast-slow-scherzo-fast structure of the movements, others were completely foreign: The work begins with the DJ scratching before DBR begins playing. When DBR takes the stage, he isn't anchored to one spot. But this isn't the typical "strolling violinist": While he's playing with vigor to successfully challenge any soloist, he's also contorting into unusual positions: Playing with the scroll of the violin touching the floor; having a dancer hang off his elbow or his waist...or stand on his back...while he is playing and not missing a note.

The bass of the notes (and the beat) makes their way up into your body via the stage floor. The piece is roughly equal parts Mr. Roumain alone on stage (but never alone musically -- a variety of pre-recorded and sampled music keeps him able company) dance, and choir: A brief video clip and photos of Haitians round out the visual portion of a show that stops just shy of sensory overload. A few notes of Beethoven make their appearance (with Lord Jamar filling a role as conductor)

The audience is fully engaged as well: There was enough rhythmic clapping that at the end of the performance my hands were a bit sore; the involuntary toe tapping persisted throughout: Near the climatic conclusion ended with much of the audience flooding the strange and creating a scene indistinguishable from a night club center stage, and as impressively, Mr. Roumain playing a few notes on his violin using his tongue.

The final result was a work that was very much alive and both explored and celebrated the worlds of music, dance, hip hop, perception, video, and photography. Not to mention some very catchy sounds -- Though I rarely purchase music from venues other than iTunes, I had no hesitation to pick up the CD on my way out -- and based on what I heard on the ride home, it is an authentic, if somewhat flat, representation of the music of the show. But you really need to see, hear, and feel it to get the full effect.

Lincoln

Cleveland Museum of Art: Fu Baoshi Young Professionals Night (@ClevelandArt)

The Young Professionals Event tonight at the Cleveland Museum of Art is one of those odd events where it came to my attention not through a single channel but through seemingly every vehicle I pay even the slightest bit of attention to. Needless to say, I was rather intrigued by the opportunity and was excited to "give it a whirl" so to speak.

Rachel was working at the museum tonight so after we were both finished with work for the day  we met in the galleries when we were both finished and killed some time in medieval and contemporary before making it back to the reception. The reception was quiet but well attended -- an interesting mix of people I know and museum staffers I recognized and completely new faces.

The reception featured Chinese takeout containers and deserts (I'm proud to say that I held my own with chopsticks, but Rachel had me firmly beat in that category). Also at the reception a supply of paper, ink, and brushes where you could try your hands at Fu Baoshi's techniques. Once again Rachel's artistic side had a chance to shine.

At 7PM, though, the most interesting -- and unexpected -- part of the evening began. Curator Anita Chung gave a guided tour of the exhibition, relating Mr. Baoshi's art -- both subject matter and techniques to the political and social climate which existed in China throughout his career, and his struggle to remain relevant (and not have his art appear elitist) after the rise of communism. Ms. Chung's enlightening presentation as we strolled through the exhibition also touched on the differences between Western and Chinese art: Where Western art tends to show things from a fixed perspective, Chinese frequently shows the subject over a period of time; where Western is quick to reject and adopt traditions (think all of the "isms") where Chinese has a very long tradition that isn't (or at least wasn't) readily rejected.

Ms. Chung was understandably very excited about her exhibition and her detailed (and far from boring) tour gave en excellent overview and things that will certainly help to appreciate the exhibition when I return to peruse it at my (our) own pace.

(as a side note today was Rachel and my septamensiversary)


Lincoln

CIM Orchestra: CIM@Severance - Daughtery, Stravinsky, Ravel

Daugherty: Red Cape Tango from the Metropolis Symphony (1988-93)
Stravinsky: Violin Concerto in D Major (Emily Nebel, Violin)
Ravel: Daphnis et Chloé Suites Nos. 1 and 2
Carl Topilow, conductor
at Severance Hall, Cleveland

For the second time in relatively recent history Rachel and I found ourselves at Severance Hall, not for a Cleveland Orchestra concert (they're currently touring Europe, leaving me a bit envious) but for the able Cleveland Institute of Music Orchestra -- the second in their series of free concerts at Severance Hall.

We were seated at about 3 o'clock in the house -- the furthest house right I've been in Severance and I was a bit concerned about what the sound would be (previously, I've noted in that in Box 16 the violins sound particularly strong compared to boxes 1-12, and I was wondering if that would intensify further afield -- it doesn't) but I was also interested by the view afforded -- virtually straight on to the violinists and over-the-shoulder for the cellists.

The program opened with Michael Daugherty's Red Cape Tango, which playful and remained my favorite from the evening. Starting with a horn call echoed off-stage by an instrument that could have just as easily been miles away, then each principal slowly built before arriving at a full-bodied and delicious dance. That dance is interesting, but periodically and chaotically interrupted for varying--and significant periods of time--at one point a an amusingly sour trombone note is answered by solo violin.

Next up on the program was Stravinsky's Violin Concerto. Stravinsky and I haven't been having the best run of late. Tonight's performance, with Emily Nebel playing the solo violin part, was infinitely more enjoyable than the Agnon heard just five days ago, but it still left me more than a little wanting, and the general mood was more depressing than not (the emotions I associated with each movement were "Restrained Excitement"--"Melancholy"--"Crying Woman"--"Lively"). The fourth movement, Capriccio, was my favorite from the piece both with the generally more lively disposition and some particularly impressive playing from Ms. Nebel -- not the least of which was a bit of ricochet.

After intermission the program finished with Suites 1 and 2 from Ravel's Daphnis et Chloe, each consisting of three movements played without pause. The first suite, Nocturne--Interlude--Danse Guerriere, was indisputably nocturnal and lingered in that mood with a few erie overtones, and a wind machine, until an explosive and slightly jarring arrival at the Danse Guerriere. The second suite, Daybreak--Pantomime--General Dance, begin with the musical equivalent of a slowly rising sun, complete with a twinkling harp and happily chirping birds. The energy of daybreak gave way to a midday siesta, before winding up with a light dance led by flute and sting pizzicato.

Lincoln

Cleveland Museum of Art: Chinese Art in an Age of Revolution: Fu Baoshi (1904–1965)

The Cleveland Museum of Art's next exhibition, Chinese Art in an Age of Revolution: Fu Baoshi (1904–1965), opens to the public tomorrow; tonight was the Member's Reception and Preview Party. The exhibition is mounted as a retrospective on the life and work of Chinese painter Fu Baoshi.

Coming on the heels of The Lure of Painted Poetry I was a bit skeptical about another Asian show so quickly -- but walking through the the exhibition it was an interesting comparison: While Lure was traditional Japanese, Fu Baoshi's work was well centered in the 1900s, the techniques are instantly identifiable. The scenes depicted in Mr. Baoshi's works, however, are full of more resonant and relatable messages, both political and of daily life. While a telephone poll would have been anachronistic in the ealier show, it is gracefully incorporated into a hillside scene here.

The reception seemed particularly well attended and it was great to see so many people giving such an enthusiastic reception -- particularly enjoyed bumping into a number of people I know -- however the sheer size of the crowd made it a bit difficult to fully absorb the art or to fully understand the timeline within which Mr. Baoshi's work developed -- but that information is there and we plan to make a return visit soon when we can spend a bit more time in a little bit more quiet with the art.

As with Lure, the detail of the paper scrolls on which the works were painted was almost as captivating in some ways as the art itself. The art, meanwhile is largely monochromatic, with hints of color -- primarily red, but the occasional blue and green. The scarcity with which they are used makes it that much more impactful.

Taking a step back, before we walked into the exhibition hall, the catering was, as usual themed for the exhibition, and this time delightfully included a variety of options for the less adventurous (or more picky) eaters amongst us. After indulging in light food, we entered Gartner Auditorium where Director David Franklin (approaching his one-year anniversary with the museum...my how time flies) introduced the two representatives from the Nanjing Museum, the major source of lent works for this exhibition -- Mr. Zhang Min, Vice Director of Academic Committee and Mr. Wan Xinhua, Vice Curator of Department of Art Research and Fu Baoshi specialist. Curator of Chinese Art, Anita Chung provided an excited -- and animated -- introduction to an exhibition she was clearly proud of.

Lincoln