Cleveland Orchestra: Fate and Freedom

Beethoven: Symphony No. 5 in C minor, Op. 76
Shostakovich: Symphony No. 10 in E minor, Op. 93
Franz Welser-Most, conductor.

This week has been disruptive to say the least -- while I spent the majority of the week in Palm Beach and am preparing to head to Richmond for a full week tomorrow, all amidst the emotional devastation brought upon many close to me by the news of David Franklin's--er..."recklessness" as one friend put it.

Though I arrive home lat last night, I'm heading to Ricnmond tomorrow afternoon and between valuing wwhat time I have at home and the relative disfavor with which I hold Mr. Welser-Most's conducting plus my lack of enthusiasm for Beethoven, had the program been presented Shostakovitch first I likely would have called it during intermission 

I'm glad that wasn't the case, however, as Mr. Welser-Most seemed particulally relaxed and avoided the overly-restrained, stiff, feeling that I get too often. Instead the.Beethoven was wonderful full-bodied and immersive, completely pulling me into the supple piece. While the first movement was vigerous and full of young life, the second had a mich more tender and loving feeling. The thord and fourth movementa meanwhile had a more timid, soft spoken feeling before erupting like a superhero tearing off his disguise.

The Shostakovich, was on the other hand, significantly less captivating primarily for the overwhelming bleakness -- like a Cleveland winter, mostly depressing with little spots of sunshine.  The intense strings brought a profound sense of foreboding and the militaristic feel if the secon movement. The third and fourth movements had a very tentative and cautions feeling to them.

Lincoln

The Cleveland Museum of Art: A mess is spilling over

Ok, so I don't know that I have much to add to the "discussion" on the topic but I do need to vent a bit, especially with the 'facts' as they seem to be unfolding.

From the rather abrupt resignation of the museum's former director for "personal" reasons it was clear something was up, and it was disingenuous of the museum board to even half-heartedly attempt to cover it up. In fact, knowing some of the players in the story something didn't really feel "right" starting near the end of March and certainly after the unfortunate demise of one of the key players in this unfolding saga.

I am more than a bit, erm, pissed at the moment. Of the three Directors of the Cleveland Museum of Art that I've known since moving to Cleveland, David Franklin was the first that I respected -- and the first that I sense respected all patrons more or less equally. Of course, that respect has evaporated.

Timothy Rub was, during the tenure that coincided with my living in Cleveland was uninspiring and not particularly charismatic in my experience -- at museum events I definitely got the sense that he wasn't interested in acknowledging, much less talking to a patron unless he or she brought a significant amount of money to the table. He seemed absolutely ambivalent about engagement, particularly engagement in "my" demographic. I was not sad to see him leave for Philadelphia.

Deborah Gribbon, as interim director following Tim Rub's departure likewise didn't really inspire -- but as an interim director, staying the course and not making any radical departures from the norm during their term is expected -- in effect, serving as a trustee for the next director.

David Franklin, however, was very approachable and engaging including helping to champion both research and writing among curatorial staff and a number of innovative projects like Gallery One and Column and Stripe -- an organization working on engagement for 'my' demographic and brought to fruition in no small part through the efforts of the other key player in this drama.

When the resignation was announced, thus, I was disappointed -- we finally had a director that I wanted to see stick around for a while, and while I had my suspicions that something was amiss, I couldn't imagine it was this significant.

So I hope that the next director will share many of the same positive qualities that I perceived of Mr. Franklin while having much better discretion. Though it seems many are eager to blame the underlying relationship issue entirely on the man, it takes two to tango. Enough said.

What has me even more pissed off is how incredibly poorly (and dare I say unethically) The Plain Dealer has handled this story -- failing to disclose the conflict of interest posed by having their publisher on the board in the original story, naming the (deceased) other party to the "scandal", and dragging her family into it without adding any value to the story, and just plain idiotic soundbytes from the museum's board. Add to that, the way some museum staff have been approached for comment strikes me as just a little creepy. It's like reading a mashup of the worst parts of Fox News and MSNBC combined.

Anyway... I hope that the museum's search for a new director yields an engaging, passionate, individual quickly who can see the museum through it's impending centennial and ensure the museum's reputation as a world-class center for art and research is restored and strengthened. I am eager to see the museum put this unfortunate episode (or rather mini-series) behind it.

Lincoln
(Revised October 25th to add clarity)

Cleveland Orchestra: Jakub Hrusa Conducts: Haydn, Dvorak, and Janacek

Haydn: Symphony No. 60 ("I'll distratto")
Dvorak: The Golden Spinning Wheel, Op. 109
Janacek: Taras Bulba, Rhapsody for Orchestra
Jakob Hrusa, conductor

Coming back from Richmond this afternoon I wasn't so sure I was going to make or to tonight's concert -- my bed was sounding mighty attractive and United Airlines operational reliability (Read: ability to get me where I expect go at roughly the time I expect to be there) has been particularly lousy of late [how an airline can "misplace" an entire airplane at an airport is beyond me, but I digress]

But here I am, or rather was in Severance Hall -- starting this post during intermission so that I can find sleep sooner when I return home. The first piece on the program, Hadyn's six-movement symphony with a title translating to "The Distracted" was an apt start for my return. Over the course of 25 moments, though I was occasionally distracted it generally held and recaptured my attention with a variety of emotional responses -- from noble to "festive with a bit of mystery". The fourth movement presto was impressive for the sheer control of bow speed and the number of precise notes coming forth rapid fire succession. The fifth movement adagio was particularly meditative and when I closed my eyes a note seemed to drift across the stage.

The second piece on the program my favorite by a narrow margin -- also about 25 minutes was Dvorak's The Golden Spinning Wheel. While calling a half-hour of music a "tone poem" seems like a bit of a stretch, those who know me, or who have been reading for any length of time know the Dvorak is among my favorite composers and this piece, including tinges of toe-tapping folk music was no exception.

The last piece on the program, Janacek's Taras Bulba, a "rhapsody for orchestra" was most surprising. While the first and third movements were captivating, the second movement with a repetitive four note stinger gripped me, both for it's crisp delivery across the string sections and sense of familiarity (I swear I've heard it in a television program theme) held me in suspense throughout the piece.

I'm down to Miami next week -- sadly not at the same time as the Cleveland Orchestra's residency -- then back to Richmond and New York. I need some time off the road.

Lincoln

Cleveland Orchestra: Franck's Symphony in D Minor

Faure: Suite from Pelleas and Melisande, Op. 80
Britten: Serenade for Tenor, Horn, and Strings, Op. 31 (Richard King, horn; Matthew Polenzani, tenor)
Franck: Symphony in D minor
Marek Janowski, conductor.

After spending most of the past two weeks* on the road (first, not-West Palm Beach, Florida, then Wilmington, North Carolina) I was hoping for am awe-inspiring concert to bring me back home -- and get my mind off the
1-trip-a-week schedule for the next four weeks (Richmond, Palm Beach, Richmond, and New York).

Such a concert, unfortunately the Orchestra did not deliver tonight. While enjoyable it was mostly lacking in spice and came out tasting rather bland; not much different than a rote performance entombed in a CD recording.

For example, the opening Suite was plesant with its pastoral-but-occasionally-spritely sound bit it was rather lifeless. Britten's Serenade did not fare much better. Though Mr. Kings playing -- especially the solo opening a d closing movements played from off stage were delightful to listen to itndodnt really have the air of anything special.

Things turned a bit more engaging through the first two movements of the Franck -- much less rote and more passionately played, but the third movement was the most enjoyable of the evening with a bold and festive signature hat seemed more forceful and more enjoyable to listen to each time it was repeated.

Lincoln

Cleveland Orchestra: Tchaikovsky's Piano Concerto

Liadov: Eight Russian Folk Songs, Op. 58
Tchaikovsky: Piano Concerto No. 1 in B-flat major, Op. 23 (Krill Gerstein, piano)
Prokofiev: Symphony No. 3 in C minor, Op. 44
Vassily Sinaisky, conductor.

A concert in three courses. Opening tonight, Liadov's Eight Russian Folk Songs was a delightful eight-movements-in-fifteen-minutes taste of everything, surprisingly not plagued by the Cleveland orchestra since 1984. Though was of the movements had names calling for imagery -- "Religious Chant" or "Tale of the gnat" for example, the beginning of was movement had me a little off expectations, but as the movement progressed the realization that the title was apt hit me on each case. Particularly notable in that sense was "Christmas Song ('Kolyada')" -- which was not so much a western Christmas but a eastern European nutcracker. Most enjoyable however, were the restrained but lively Round Dance, reminiscent of a small gathering, and the expansive Village Dance Song more seeming as a communal celebration.

Proceeding with the evening, I noticed the concert was generally trending in the direction of "loud" followed by "louder" -- while I like loud, by the end of the concert my ears were physically exhausted and it seemed like much of the dynamics had been lost. Of course, during one relatively quiet moment during towards the end of the first movement of the piano concerto I could no longer hold back a throaty cough after several stunted sputters...and I became "that guy".

For Prokofiev's Symphony, the strings were particularly strong but surprisingly not really captivating and I cannot put my finger on why.

Lincoln

Column and Stripe Tour of the Cleveland Museum of Art Conservation Lab (@clevelandart)

Mr. Knutas with Van Gogh's The Road Menders,
prepared for loan, in the Paintings Lab

This evening Rachel I had the pleasure of attending a tour and talk by Per Knutas, Chief Conservator of the Cleveland Museum of Art, as part of a program hosted by Column and Stripe, the Cleveland Museum of Art's affiliate group for young friends.

I've found conservation fascinating both for the ethical and technical challenges and questions posed -- and Rachel has conservation work experience (including, most impressively to me reconstructing the shell of an ostrich egg from over 100 individual pieces while living in Italy) so there was no doubt we would attend this evening's program. I was particularly interested because while Rachel has volunteered in the labs the only part of the tightly-secured conservation suite I've see is the classroom and I'm always up for a behind-closed-doors tour.

Illustrating the level of documentation
that may be associated with the
conservation of a single work.

Per, a relatively new addition to the Cleveland Museum of Art staff, started the evening in the Conservation classroom with an overview of both the profession in general and Conservation at the Cleveland Museum of art, including the ethical considerations such as that everything a conservator does must be documented and reversible. I found it interesting to hear that different considerations apply between "modern" works, where a greater level intervention and consultation with the artist is permitted, versus historical pieces where a very conservative approach is taken.

The Rembrandt amongst the conservator's tools
(Click for a larger version)

Delving further into the inner sanctum -- and uncharted territory for myself and most of the attendees -- lab doors were opened and the covers were literally lifted off of works in the process of being conserved by the museum's staff of science-driven artisans. Take, for example, a Rembrandt undergoing cleaning and conservation by paintings conservator Dean Yoder. A think layer of varnish was laid over the work to isolate the "original" paint from the conservation work, and further paints that fluoresce under ultraviolet light are used for the necessary in painting to make the work done immediately apparent to future scholars and conservators.

Demonstrating the UV Light,
highlighting in painting

The careful treatment of works does not stop there, but also careful consideration of cultural traditions. For example, Mr. Knutas related that in considering critical preservation work on a document with religious significance where the culture forbids disturbing living things. To respect that culture, no animal glues can be used -- no brushes with animal hair can be used. The suggestions that it would be proper not to wear leather belts or shoes while working on the piece and that the conservators involved not eat meat the day before are being considered. I knew conservation was a hyper-detail oriented craft, but I had never considered how cultural concerns could so dramatically affect the execution of conservation -- and the lengths the Cleveland Museum of Art is willing to go to respect those traditions.

 Further, in that regard, the Asian Paintings Lab, staffed by conservator Sara Ribbans, is one of only four in United States museums. Ms. Ribbans was trained in the Japanese tradition, and carries that on in Cleveland. The lab has a distinctly different feel than the other labs we visited, including low tables and Tatami mats -- the tools used, likewise, are the same those that have been used by Japanese artisans for centuries.

Rachel pondering frames

As the tour concluded and we made our way back to the classroom where the talk began, we once again passed through a long hallway lined, floor to ceiling, with empty frames. No, this isn't the secret frame shop in the museum, instead, it's storage for the frames that belong to pieces undergoing conservation. A sort of waiting room in the art hospital, if you will, where frames patiently wait to be reunited with their loved ones.

In any event it's quite an unexpectedly dramatic scene.

Oh, and another tidbit: There are more than 45,000 objects in the Cleveland Museum of Art's collection. Less than 2% are on view at any one time.

For more information about Column and Stripe, or to join, visit http://www.columnandstripe.org/

Lincoln

Cleveland Orchestra: Beethoven's Emperor Concerto

Beethoven: Piano Concerto No. 5 ("Emperor") in E-flat major, Op. 73 (Helene Grimaud, piano)
Mahler: Symphony No. 4 in G major (Maureen McKay, soprano)
Fabio Luisi, conductor.

Ok, so Summer is over and it's time to return to Severance Hall for another season -- in many ways it's like the first day of a new school year, greeting old friends and helping new fans to find their way around. It's also a time to notice changes -- rumors of veteran House Manager Judith Diehl's impending retirement, and the addition of some rather unsightly security cameras flanking the stage, like pimples on an otherwise flawless face.

I will admit, though, that I wasn't as excited as I could have been heading into the hall this evening; I've gotten slightly accustomed to having a Saturday evening free, and my bank account has certainly appreciated having a few weeks free from ticket purchases. From the first notes, though, the orchestra under maestro Luisi reminded me why I attend Cleveland Orchestra concerts.

The first movement of the Beethoven concerto hooked me with tantalizing finger work on Ms. Grimaud's piano backed by equally tantalizing playing by the orchestra with phenomenal crispness clarity and balance. Though not evocative of a particular visual scene it was memorizing and at times almost operatic. The second movement (which lead virtually seamlessly into the third movement) was heartwarmingly tender -- to the point that a gentleman in an adjacent box bay have been on the verge of tears.

Following intermission the program concluded with Mahler's fourth symphony in four movements. Those four movements seemed to be almost wholly unrelated, making each movement it's own interesting little bundle. Like the Beethoven, this piece didn't evoke strongly imagery, but each movement evoked clear feelings -- from the first movement and its warm winter feeling suggesting sleighs and carols, to the second movement's more cinematic, imaginary and fanciful air. The third movement was serene and tranquil, at a moment sounding as if the entire orchestra -- as an organism was breathing and gasping for air. The fourth movement was the only movement of the evening that left me less that captivated.

Lincoln