Timothy is an organist in Cleveland, Ohio. His repertoire extends to all musical periods, with a special interest in contemporary music. As a blogger he is a regular contributor to ClevelandClassical.com. In his parallel career as a librarian, Tim is Associate Director for Academic Engagement at the Kelvin Smith Library of Case Western Reserve University.
The Buffalo Philharmonic Orchestra, conducted by JoAnn Falletta, turn in an elegant performances that included Ellen Taaffe Zwilich’s Prologue and Variations, as well as a Joseph Bologne de Saint-Georges Violin Concerto.
Music Director Louis Langrée leads a program of Schubert, Julia Perry's Homunculus CF and Anthony Davis's You Have the Right to Remain Silent, featuring Anthony McGill as an outstanding clarinet soloist.
The streamed concert showed the Aurora players' prowess as chamber musicians, joined by the excellent Swiss pianist in music by Mozart, Ravel and a specially commissioned new work by Sasha Scott.
Part of Brussels' Ars Musica festival, the concert also included a fun world premiere by Claire-Mélanie Sinnhuber, and the riveting Streaming Arhythmia by Anna Thorvaldsdottir.
Donald Runnicles conducted an imaginative chamber version of Strauss' testamentary Lieder, plus Elgar's own take on the concerto grosso form in his Introduction and Allegro.
The familiar qualities of blend and precision were in evidence in familiar works by Respighi and Tchaikovsky, as well as George Walker's thorny but arresting Antifonys.
In one of his first assignments as Music Director in Detroit, Bignamini conducts rarely-heard works by two Americans, along with an 18th-century Classical symphony by the Chevalier de Saint-Georges.
Baritone Peter Mattei brought both musical sensitivity as well as almost Berg-ian drama to Mahler’s Lieder eines fahrenden Gesellen, ably supported by Manfred Honeck and the Gothenburg Symphony Orchestra, in a successful livestream concert.
The outgoing music director of the San Francisco Symphony made a brilliant impression with his own Meditations on Rilke, with Sasha Cooke and Dashon Burton as soloists. Berlioz’ Symphonie fantastique was given a revelatory performance.
It’s been 97 years since The Cleveland Orchestra performed Frank Bridge’s The Sea, but this weekend’s performance was worth the wait. Paul Dukas’s evergreen The Sorcerer’s Apprentice received a precise and jovial performance.
Piano icon Yuja Wang was an often self-effacing yet effective soloist in Rachmaninov’s neglected Piano Concerto no. 4. Poulenc’s 1948 Sinfonietta received its first Cleveland Orchestra performance since its 1949 US premiere here.
A brilliant programming decision paired Adams’s 9/11 memorial with Mahler’s life-affirming Symphony no. 4, with the fine soprano Joelle Harvey as soloist.
The young Finnish conductor, stepping in on short notice, led an incandescent performance of Beethoven’s Symphony no. 7. Augustin Hadelich was an excellent soloist in Prokofiev’s Violin Concerto no. 2.
Olga Neuwirth’s complex but arresting Masaot / Clocks Without Hands opened the program, but it was the orchestra’s Mahler’s Symphony no. 5 that the audience will remember for the overpowering effect of this performance.
There were no unorthodox interpretations in this program, which featured The Cleveland Orchestra’s associate concertmaster Jung-Min Amy Lee in Samuel Barber’s Violin Concerto, just excellent, straightforward music making.
Sibelius’s rarely performed orchestral songs received memorable performances by Keenlyside and The Cleveland Orchestra conducted by Welser-Möst. Grieg’s Peer Gynt and Strauss’s early Aus Italien filled out the program.
