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Lincoln in Cleveland
Lincoln
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Adams: Short Ride in a Fast Machine
Fleck: Concerto for Banjo and Orchestra (Bela Fleck, banjo)
Copland: Suite from Billy the Kid
Gershwin: An American in Paris
The Cleveland Orchestra
Giancarlo Guerrero, conductor.

It's fitting that after a tour of an American factory (along with a visit to the Newport Aquarium in Kentucky earlier today, but more about that later) we returned to Cleveland in time for me to attend tonight's made-in-America program with The Cleveland Orchestra.

In truth, this was perhaps the first "normal" Cleveland Orchestra concert I've put in the "eagerly awaited" column -- if you're a regular reader of this blog, you probably know that Aaron Copland is among a very few composers I might describe as my "favorite". Gershwin isn't far behind, and I generally have no complaints with John Adams. Indeed, when I saw this program on the season calendar, this was going to be my "Absolutely no way I'm going to miss it, clients be damned" concert*.

It would seem I wasn't completely alone -- the concert was down to standing room only availability, and the seat I was able to get was the worst seat I've had in a while. That didn't significantly detract from the experience though -- and it was worth rushing north from Cincinnati to hear.

Adams Short Ride in a Fast Machine was short at perhaps five minutes, and put me back on the road with the persistent click from percussion reminding me of the passing dashed stripes zooming by on the freeway, although enjoyable at times the percussion overwhelmed the remainder of  the orchestra.

I was not particularly looking forward to the Concerto for Banjo beyond, perhaps, the novelty of a banjo on the Severance Hall stage, but in keeping an open mind the listener was rewarded with an intriguing piece in three movements, the first movement -- a little lighter and laying the groundwork for the remaining movements. Pragmatically, it seemed like the banjo spent time wandering alone against the orchestra as a society but I noticed (and this is echoed in the program notes) that the banjo was gaining its identity as a banjo as the piece developed: The unformed child, the rebellious teen, and finally accepting its role in lit.

Following intermission, the piece I had been waiting for was delightfully played. Copland is one of few "classical" composers that can be found on my iPod, and the complete score for the ballet Billy The Kid is in that collection. Although I prefer Appalachian Spring (And I have an awesome recording of Copland rehearsing an orchestra for a recording of Appalachian Spring that I love listening to -- and listening to Copland describe the effects he wants, but I digress), but the Billy the Kid Suite was everything had hoped for, but with the added warmth and clarity of hearing The Cleveland Orchestra perform the piece in Severance Hall -- the first time since February, 1943* was completely engaging.

I was running on the last of my steam for Gershwin's An American in Paris, but like the Copland, although it's a piece I'm more familiar with, I loved to hear the familiar sounds with the passion and precision of the Cleveland Orchestra.

I can only hope that future seasons will bring more [tonal] American composers to the program, and that it won't be another 49 years before we hear Billy The Kid in the hall.

Unfortunately, it appears the Christmas Concerts for the days I'm actually in Cleveland have sold out so this may be my last visit to the hall for 2012 -- and if it is, it was a great concert to end the calendar year with.

Lincoln
*- I do really wonder about some of the artistic decisions when there are some pieces that appear on the program seemingly every year, yet Copland's suite from Billy the Kid -- not obscure by any means -- was last played in the hall over a year before my father was born, and An American In Paris looks to be played nearly as often.
5 months ago | |
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I've been dating Rachel for one year, eight months and fourteen days -- not like anyone is counting -- for nearly as long Rachel has been talking up the awesomeness of the KitchenAid Stand Mixer. I was planning on simply getting her one for Christmas -- which doubles as Rachel's birthday, so you may occassionally hear me refer to it as Rachemas... until I learned they're manufactured in Ohio.

1701 KitcheanAid Way in Greenville, Ohio -- a little North and a little East of Dayton -- to be percise. And they offer factory tours Tuesday-Friday at 12:30. So I asked Rachel to let me know when she may have a Friday off before Christmas and we'd go on a surpise road trip (though I think she figured out where we were going...)

Thursday evening after we both got off of work, we pointed my car Southwest and drove towards Dayton. Cashing in a few Hilton HHonors points, we overnighted at the Hampton Inn in Sidney, Ohio -- a hotel that is exceptionally well-kept, well-staffed, and friendly, given its somewhat "middle of nowhere" location off of Interstate 75. This morning, we slept in, grabbed breakfast and launched in for the last 45 minutes of so of the drive to Greenville.

Not being sure entirely what to expect -- the KitchenAid website is a little light on details, and unless you're bringing a tour bus, the toll-free information number doesn't go much further -- we showed up way too early, and after confirming the yes, indeed, there would be a tour (and learning for the first time, the tour is $5 per person, cash only) we had about an hour to kill.

I had planned on stopping by the KitchenAid Experience -- the KitchenAid store in beautiful and historic downtown Greenville, Ohio (which reminds me a lot of St. Ignace, Michigan) -- after the tour to let Rachel pick her color, and with the surprise no longer a surprise, we decided to do that first. We found a 5 Quart model in the Red she had her heart set on at a good price and I whisked it out to my trunk.

We returned to the Whirlpool facility on KitchenAid way -- that was one of the first things we learned: Since the late 1980s, KitchenAid has been a Whirlpool brand. We signed in, I paid for our tour and while we waited I was impressed by the "Customer First" banner in the lobby (the customer pays our salary, the customer is never an inconvenience, etc.) -- but more impressive, someone had walked in with a blender needing help, and someone who seemed to be straight off of the assembly line provided a replacement part and help in figuring out how to put it back together.

Our group -- there were a total of four of us, Rachel and I and an older couple -- was ushered into the cafeteria where we were given protective eye wear and an assisted listening receiver (to hear our guide over the factory noise). We also met our guide for the day. I had been concerned that it may be a spin-heavy tour lead by a public relations suit. That couldn't be further from the truth. Our guide was a down-to-earth Quality Auditor who has been working for KitchenAid for 34 years -- her job is to take random units off of the assembly line after they've been finished. Once selected, the units are completely disassembled to make sure that they not only look good on the outside but are built perfectly inside. 2% of the plant's production each day gets run through the ringer like this to ensure continuous quality.

The factory tour highlights each stage of manufacturing except casting (which is done in Erie, PA) from paint and polish to gears and building the wire whips. Every KitchenAid stand mixer sold anywhere in the world -- including those exported to China (which made me chuckle) -- rolls off one of the six assembly lines in Greenville. As do the wire whips (which are manufactured at dedicated stations), and most if not all of the attachments for the blenders. KitchenAid blenders and handheld mixers also come off of lines in Greenville.

Also interesting: Some of the pieces of equipment used in the factory today have had long lives at KitchenAid, including making parts to support the war effort during World War II.

On our way out of the factory, we were graciously offered the opportunity to take advantage of a special discount for the holidays and to celebrate KitchenAid's 2 Millionth Mixer -- Where we could purchase a brand new amazing 7 quart lift-bowl mixer (with a capacity of, among other things, 14 Dozen cookies at a time) at a price that was less than what I paid for the refurbished (but still awesome) 5 quart (and a "there's no way that's the right price" less than the price listed on the website): We exchanged the mixers, and it wasn't until I was out in the car and looked at the receipt, which listed the pre-discounted price and nearly fell over (I knew it was a deal, but I didn't know it was significantly more than half off).

While I can't say I go out of my way to buy "Made in America", I am proud to support Ohio manufacturing, from my Honda (built outside Columbus) to the KitchenAid products and it's impressive to see the people and dedication first hand.

So with our visit to the gracious hosts at KitchenAid finished, and being mere miles from the Indiana border, we made a quick jog over to the Fry's Electronics in Fishers (near Indianapolis), grabbed dinner, and headed for the second stop on our tour: A hotel in Wilder, Kentucky where we're spending tonight, before hitting a nearby aquarium tomorrow and heading back to Cleveland -- in time for me to hit a Cleveland Orchestra concert I've been waiting for.

Lincoln
5 months ago | |
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Chopin: Piano Concerto No. 2 in F minorOp. 21 (Louis Lortie, piano)
Rachmaninoff: Symphony No. 2 in E minor, Op. 27
Jaap van Zweden, conductor.

Rachel and I spent the last week in California vacating (and before that I spent a week in California working)... so having survived Thanksgiving with part of the family, both parks in the Disneyland Resort [on what would turn out to be one of the busiest days of the year] the Getty Center, Hollywood, The Griffith Park Observatory and other Southern California landmarks, it was nice to sleep in my own bed last night and head to a Cleveland Orchestra concert this evening -- although I will admit that I'm still a bit out of it.

[Incidentally next week The Cleveland Orchestra is joining the Joffery Ballet for performances of The Nutcracker. While I love ballet and the Cleveland Orchestra, unless I can figure out a way to get tickets without having to deal with, let alone support, the insufferable PlayhouseSquare box office, I will not be attending those performances]

The program opened with Chopin's Piano Concerto and I can't say the performance left anything to be desired, but on the same token nothing really grabbed me or pulled me into the music; more like watching a painting from the distance in a crowded museum than being alone with a painting -- or better -- immersed in the scene. This cloud briefly lifted for a few bars late in the piece where pizzicato strings evoked the feeling of a far off dance.

The first movement of the Rachmaninoff didn't fare much better, however starting with the second movement the tide turned. In that movement, the opening sounds like it is trumpeting the arrival of an evening newscast, imparting a sense of importance and urgency before somewhat abruptly trailing off and transitioning to the tranquility of a candlelit dinner. The newscast and tranquility both return for alternating encores within the movement. Meanwhile, the third movement is largely tender and loving as a lover's embrace followed by an outpouring of intense emotion. The fourth movement was slightly stormy but largely summing up the preceding movements.

Lincoln
5 months ago | |
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Beethoven: Symphony No. 4 in B-flat major, Op. 60
Pintscher: Chute d'Etolies (United States Premiere, Michael Sachs and Jack Sutte, trumpet)
Beethoven: Grosse Fuge in B-flat major, Op. 133
Scriabin: The Poem of Ecstasy, Op. 54
Framz Welser-Most, conductor.

From the first piece on today's program, Beethoven's Symphony No. 4 I had great hope for tonight's program -- it was marvelously textured and -- though I may be reading too closely -- could almost trace the progression of youth: From the mischievous  introduction that tiptoed around the hall before surging and being a bit more overtly playful. Next was the feeling of romance, courtship with a few flares of drama, concluding with what might be described as a courtier running his fingers through a lover's hair courtesy of the strings, before concluding in a little bit of loss and despair.

Sadly that is where enjoyment of the concert ended. The next piece on the program, Matthias Pintscher's Chute d'Etoiles -- receiving its United States premiere with this weekend's performances -- was downright painful and is best described as a bad combination of "Subway train with bad brakes" meets "Apocalyptic Horror Film Soundtrack". The trumpet work, featuring two of the Orchestra's members was interesting, mixing sounds that evoke a muted jazz scene, adult "talking" from Peanuts cartoons, and most frequently the tubes from the Blue Man group -- but that was the only highlight from an otherwise insufferable piece.

I had hoped that following intermission the second Beethoven, Grosse Fuge would return the positive vibes from the program's opening, but it and the Poem of Ecstasy both seemed two dimensional and flat, not really earning Mr. Welser-Most's full involvement, much less that of the audience, though the climax and release at the end of Poem of Ecstasy was well executed. My applause following these three pieces was one of the few times I found myself applauding out of a sense of obligation rather than genuine admiration. Based on the rather apathetic applause it seems the majority of the audience was similarly unmoved.

Lincoln
6 months ago | |
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Schubert: Four Art Songs (Im Haine, Der Jungling an der Quelle, Ellens Gesang II, Die Forelle)
Schumann: Piano Quartet in E flat Major, Op. 47
Schumann: Four Art Songs (Widmung, Der Nussbaum, Heiss mich nicht reden, Kennst du das Land)
Schubert: Piano Quintet in A Major, D. 667 ("Trout")
Jung Oh, soprano; Sonja Braaten Molloy, violin; Mark Jackobs, viola; Charles Bernard, cello; Charles Carleton, bass; Christina Dahl, piano.
At the Rawson Cowap Residence, Shaker Heights.

Had everything gone as planned, I would have missed this afternoon's wonderful concert -- instead I would have been on a flight back from a week in New York. Though it is one of the more interesting travel stories of my career (involving a one-way flight and a one-way rental car), I'll save that for now, but needless to say -- I made it and was able to attend with  Rachel.

The musicians featured on tonight's program -- the string players all Cleveland Orchestra members -- were all new to the Heights Arts Close Encounters (House Concert) series, and it was interesting to see and hear more top musicians at the in an individual and more intimate setting than the concert hall.

The program was also an interesting mix of art songs (with soprano Jung Oh accompanied by Christina Dahl) and instrumental pieces. The concert stated with Ms Oh singing Schubert -- two love songs, a lullaby, and a cautionary tale about a trout. Rachel leaned over at the conclusion of the set noting that Ms. Oh made German sound less harsh -- and indeed, the entire set sounded sweet and rounded, unlike the harsh angular edges typically associated with German. Ms. Oh also sounded wonderfully warm and her voice amply filled the room.

The Piano Quartet covered a range of musical feelings -- from the galloping/driving feeling of the second movement scherzo to the loving and delicate andante cantabile third movement to a somewhat angry and more agitated vivace third movement.

The program concluded with the technically difficult and beautifully executed Schubert "Trout" piano quintet. I've heard the quintet before -- at a CIM recital -- but in the context of a private residence it takes on a much more intimate feeling between quintet and musicians [Without looking through my notes, I'm fairly certain this is the first time I've heard an upright bass in a house concert even if it wasn't the first time, it was a rare treat and pushed the entire ensemble even closer to the very appreciative audience.

Lincoln
6 months ago | |
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(Thursdays-Saturdays through November 17th at the Ohio City Masonic Temple)

It's been a little while--ok a long while--since my last Theater Ninjas experience, and it is always a unique experience. This production is themed as completely as a Disney attraction. It starts by leveraging the inherent mystique of the venue, an active Masonic Temple, and caries through an interesting preshow display that seamlessly into the actual action.

Arriving at the venue Rachel and I were handed cards, "I am here because I was invited. I beg admittance to this circle. I have told no one. My motives are my own" which heightens the dramatic tension before the audience is ever seated.

While the story is not one that can be described as simple nor straight forward (and if you've seen previous work by the Ninjas this should not be of any surprise) throughout the play I found  myself questioning the characters' latent and explicit motives and the complex interrelationships among several strangers, themselves invited to this secret meeting but unaware of why they were selected reflecting on what in each characters past has lead them to today, and what will propel them beyond today...if they survive.

Through excellent and organic staging, compelling and three-dimensional acting on the part of the entire ensemble, I was engrossed in something that was for the most part something that was so real I had no problem suspending disbelief. That said, I think every actor stumbled on one line, and for each rough recovery, my suspension of disbelief was momentarily revoked and I was oh-so-briefly returned to the clutches of  the "real" world looking in from the outside, until I returned to a state of total engrossment.

I can't remember the last time my brain has been forced to think so much, let alone so deeply, about the ultimate meaning of the piece, and being left feeling so open ended. Indeed, this is a play that, while seeming to curve that direction in places, does not force one true ending on  the audience. Instead, it gives you a lot to consider before you reach your own conclusion -- or conclusions.

Lincoln
(Directed and Devised by Jeremy Paul; Created and preformed by David Aguila, Ray Caspio, Brittany Gaul, Ryan Lucas, Cassie Neumann, Michael Prosen, Emily Pucell and Colleen Uszak; Asistant Director Ray Caspio; Stage Manaer Katilin Kelly; Lighting Design Benjamin Gantose; Costume Design Kevenn T. Smith; Technical Director Val Kozlenko; Installation Design Joan Hargate; House Manager Cassie Goldback)
6 months ago | |
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Liadov: The Enchanted Lake, Op. 62
Rachmaninoff: Piano Concerto No. 2 in C minor, Op. 18 (Simon Trpceski, piano)
[Encore] Piece for solo Piano (Simon Trpceski, piano)
Sibelius: Symphony Mo. 2 in D major, Op. 43
Robin Ticciati, conductor.

Once again The Cleveland Orchestra provided a dazzling performance; while each of the pieces could have aptly stood on its own or provided ballast for a lesser performance but together the program left nothing to be desired -- except perhaps more.

The Enchanted Lake, one of the shortest pieces I've heard the Orchestra play outside of a pops concert, at just about five minutes, emerged from darkness as a quiet [the first several bars were, essentially, lost to a chorus crinkling programs and shifting patrons]. The overall sound generally captured a mystical place with a dark and murky feel, of particular note, the sounds from the celesta [for some reason "struck idiophone" always makes me giggle] instantly reminded me of dripping water.

In listening to the magnificent performance of Rachmaninoff's second piano concerto by Simon Trpceski with the Orchestra I found myself wondering my general distaste for the genre may simply because I've never found a pianist worth loving. Mr. Trpceski fills that void and meshes wonderfully with the Orchestra. The moods of the three movements could easily be phases of a romance: The first is dark, stormy, and intensely passionate appeal. The second movement takes a cooler tone and, as the program note mentions, seems apt for a romantic candle lit dinner -- in listening I felt like I was eavesdropping on a dinner date conversation between pianist and orchestra. The third movement was more dramatic than the second and less tense than the first, with the Orchestra taking the forefront.

While I spent much of the piece with my eyes closed just absorbing the wonderful sounds emanating from the stage, in the second movement I opened my eyes during a moment while Mr. Trpceski was playing unaccompanied to watch maestro Ticciati's baton slowly sweep, parallel to the floor and otherwise motionless, from left to right, as if a teacher selecting a student, before arriving at and engaging with a flute, invited to join the piano.

After his dazzling performance (and one of the quickest standing ovations I can remember) Mr. Trpceski announced that he was "very sad to have to leave Cleveland tomorrow" and offered an encore that was as engaging and captivating as it was fast-paced; though he announced the composer and the piece from the stage I wasn't able to make note of it -- though it was based on folk piece.

Finally, one of my favorite composers -- and one who doesn't get programmed nearly enough -- Jean Sibelius's Symphony No. 2 which begins punctuated with delightful -- if repetitive -- material that coalesces into a delightful whole; the second movement begins on an aggressive note (with pizzicato basses and cellos) before calming with a gentle violin that picks up a more full-bodied sound. The fourth and final movement, though, is some of my favorite orchestral music with broadly cinematic climaxes that just pull you in.

Lincoln
6 months ago | |
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Rimsky-Korsakov: Suite from The Golden Cockerel
Tchaikovsky: Francesca da Rimini: Symphonic Fantasy after Dante, Op. 32
Prokofiev: Alexander Nevsky, Op 78 (The Cleveland Orchestra Chorus, Roberto Porco, Director; Sasha Cooke, Mezzo-soprano)
Pinchas Steinberg, conductor

As a blogkeeping note, Blogger is telling me that this is post #500 (including a few unpublished drafts that may or may not ever be published) and I have to say thanks to everyone who has been reading over the past few years.

While milling around Severance Hall's lobby this evening my nose lead me to something I hadn't seen in the building before: A patron eating a genuine, no-doubt-about-it medium pepperoni pizza--packaged in a to-go box and clearly ordered on his way to the hall, aside from making me very hungry (it smelled good) I internally bemoaned the lack of a decent "quick, easy, and inexpensive" light food option near the hall.*

Making my way upstairs and settling in for the concert I wasn't sure how I was going to react to an all Russian program. Generally I like the region, but would two hours be too much? It would seem not. Starting with a suite from Rimsky-Korsakov's The Golden Cockerel the concert was vibrant, textured, and colorful: From the first movement which reminded me of a nighttime scene -- tiptoeing through a house to avoid disturbing the other occupants (before bumping into something and creating quite the disturbance) through the mystery (helped with a pointed celesta) and some of the most stunning turn-your-head-and-perk-up-your-ears playing from the orchestra's viola section. The piece culminated in an explosion of sound.

The middle piece on the program didn't engage me to nearly the extent as the two outside pieces, and I let my mind wander (mainly to contemplating how much business I've generated in the last week, and the amount of work associated thereto) and stayed mostly in that area until I was pulled back into the piece by Franklin Cohen's beautiful clarinet laid on a luxurious bed of understated strings.

The best was certainly saved for last with Prokofiev's seven movement Alexander Nevksy. With seven movements in just about forty minutes, the piece was bound to move. Aside from moving, it had a beautiful range of emotion and texture. The foreboding overture-esque and instrumental Russia under the Mongolian Yoke lead into to the crisp and restrained voices in Song about Alexander Nevsky (which sounded like a hushed tale to be told around a campfire). The third movement was ominous and repetitive along the lines of a march to the death, but the fourth movement was my favorite from the concert and took the form of a stirringly patriotic call to action. The fifth movement captured elements of the previous movements (especially the third)) but was more insistent, and had an urgency emphasised by impressive speed and volume. By contract, the sixth movement -- the only one featuring the soloist -- was slow, mournful, and restrained, before reaching the reprieve and happy ending.

Lincoln
6 months ago | |
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Bach: Cello Suite No. 6 in D Major, BVW 1012
Hindemith: Harp Sonata (1939)
Traditional Catalian: El Testament d'Amelia
Ponce: 20 Variations and Fugue on "Las Folias de Espana"
Torroba: Burgalesa
Paul Galbrath, Eight-Stringed Guitar (all pieces arranged by the artist)
at Plymouth Congregational Church, Shaker Heights.

The guitar is an often overlooked member of the classical world. Fortunately, Cleveland has an outlet specifically for this corner. I know people who have spoken highly of the Cleveland Classical Guitar Society, but until tonight's concert I had not experienced one of their concerts myself.

I have a feeling that even had I experienced a CCGS concert prior to this evening's, tonight still would have been a very unique presentation -- Paul Galbrath plays an eight-stringed guitar, more striking, however is the playing position: Upright with a tail piece resting on a resonance box, much like the modern cello (two of the eight strings extend the full length of the instrument). That is where the similarities to the cello -- at least to this writers eyes and ears end.

After a long day -- capping off a longer week -- I found the sound throughout the concert to be invitingly warm and very conducive to relaxing meditation. While it's a state that's very conducive to preserving what little is left of my sanity, it is not conducive to noting specific emotional responses to specific pieces. Needless to say, though, Rachel and I thoroughly enjoyed ourselves.

Even when the music took a turn for the louder, faster, and generally more energetic, the sense of an inner calm persisted through Mr. Galbrath's playing. Aurally, I was also struck by how harp-like, more than any other instrument, much of the program sounded. On the other hand, visually, for as big and room-filling as every piece sounded, Mr. Galbrath's movements were small and precise, sometimes verging on barely noticeable.

The next Cleveland Classical Guitar Society concert is on Friday, November 16th and features Edel Munoz (More information here)

Lincoln
6 months ago | |
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Stravinsky: Petrouchka (complete ballet music, 1947 revision)
Paulus: Violin Concerto No. 3 (World Premiere, William Preucil, violin)
Ravel: Rapsodie espagnole
Giancario Guerro, conductor

I've sat in many of the boxes at Severance, and while the lower numbers (closest to center) are undoubetely my favorites, thus far Box 1 has eluded me. Tonight through good fortune I found my way to Seat F in that elusive box -- dead center in the hall for what was without reservation my favorite concert so far this season -- and the polar opposite about what I felt towards last week's concert.

Opening with the complete ballet music to Petrouchka in four scenes; and it was one of those glorious pieces where I just got lost in the music without needing to look any deeper -- the piece had energy, it had texture. It was bright and focused -- exactly the characteristics that got me got me hooked on the Orchestra and live classical generally. Every section sparkled but worthy of particular note were Joella Jones stunningly fresh statements from the piano.

The story behind Violin Concerto No. 3 was almost as fascinating as the piece itself; Mr. and Mrs. Hoeschler and Mr. and Mrs. Dahlen, all of Minneapolis, commissioned the piece that received its world premiere with this weekend's concerts. This is the latest in a series of commissions and it was interesting to hear their thoughts and goals attached to each commission. Following a tradition repeated every five years since the Hoeschler's 15th wedding anniversary, Violin Concerto No. 3 was commissioned to celebrate their 45th (If I ever get married I may have to steal this wonderful idea). As for the piece, many people have modern music stereotyped as atonal -- this was very musical, though without a forced program.

Listening to the first movement, I had the impression of Mr. Pruecil's violin as a driver rushing down the street trying to make a date with the sounds of the orchestra as the sounds of a busy city outside. In the second movement, the tender romantic sounds from Mr. Pruecil's violin with the gentle bed of the orchestra made me imagine a serenade by musician-as-romancer outside the romancee's window--on the edge of tears beautiful, while the third movement was unsettled and agitated.

The desert on the three-course (I almost wrote chorus) evening at Severance was Ravel's Rhapsodie espagnole, a quick fifteen minutes trip to Spain with sounds randing from a restrained and a kind of cautious mystery to a fiery explosion of festive music.

Lincoln
7 months ago | |
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