Cleveland
Museum of Art
January
2
Modern music amid historic masterpieces. |
Cleveland’s
newest contemporary music ensemble drew a capacity crowd to the Art
Museum last Wednesday for a performance in the European “Naturalism
and Idealism” gallery. As it happens, that title also provides a
good capsule description of the concert – a group of natural
talents aiming high with a mostly 20th-century program that produced
results a bit more uneven than the masterworks surrounding them.
The
ensemble, which features student players from the Cleveland Institute
of Music, is led by Shuhai Wang, an accomplished pianist and faculty
member at CIM. She is also the director of Classical Revolution
Cleveland, the outreach effort to put classical music in unorthodox
venues that has been such a wild success at the Happy Dog tavern,
where it gave birth to a recording project.
Wang
took a back seat at this performance, giving her young charges most
of the limelight. Flutist Madeline Lucas opened the program with two
solo works: a brief flight of fancy by Katherine Hoover, and Arthur
Honegger’s charming Danse de la Chèvre,
which offers some technical challenges. Lucas played with spirit and
energy, though there was not much definition in her sound, which
would have benefited from sharper development.
Guitarist
Krystin O’Mara showed rock star technique on a trio of short pieces
by Joaquín Rodrigo.
Though her fingerwork was dazzling, O’Mara seems not to have much
performing experience. She was focused on the fretboard to the point
of ignoring the audience, and fell apart at the end of the concluding
“Zapateado,” finishing short of the actual ending with a quick
flourish of slides. Still, her raw talent is unmistakable.
Harpist
Shelly Du provided the best pure sound of the evening with
mesmerizing renditions of a Bach fugue and Listz’s Le Rossignol,
S.250/1. Neither piece was written for harp, but they both
sounded superb in the gallery space, which gave the instrument a
rich, deep resonance. And Du is a very good player, creating sounds
in the Liszt work that sounded identical to piano keys. Hers was the
only performance of the set that stopped all the bustle and noise on
the edges of the room, as even passers-by were transfixed by the
sound of her playing.
A
duet by violinist Emily Cornelius and cellist Carlo Javier showcased
the group’s weaknesses and strengths. The caliber of their playing
on the first movement of Honegger’s Sonatine for Violin and
Cello was quite good, capturing the changing tempos and moods
with professional precision. But there wasn’t much depth to their
performance. That usually comes with time, so it will be interesting
to hear what Cornelius and Javier can do after they’ve played
together for a while.
That
was also true of the final work, Jacques Ibert’s Deux
Interludes, performed by Cornelius, Lucas, and Wang on
harpsichord. After a first movement that didn’t quite gel, the
second movement picked up feeling and energy and blossomed into the
most impassioned segment of the evening. As a preview of Ars Futura’s
potential, it was a thrilling moment. And it was great fun to hear
Wang providing a backbeat on harpsichord. She showed the same mastery
of technique on two solo Martinů pieces
preceding the trio, which offered the rare treat of hearing
20th-century chords and ideas played on a Baroque instrument.
Flaws
aside, this was a lovely concert. Ars Futura may be in its infancy,
but the caliber of the players, the intelligence of their program,
and the liveliness of their performance suggest great things to come.
And the power of performing amid the
angels and saints and painters like Cavallino, Reni and Caravaggio
can hardly be underestimated. Great art elevates everything in its
proximity, and as CMA’s Music in the Galleries series continues to
demonstrate, the synergy created by combining art and music can be
sublime.
For
more on Ars Futura and their CMA concert:
https://www.facebook.com/arsfuturaensemble
For
more on Music in the Galleries:
http://www.clevelandart.org/events/music-and-performances/music-galleries
Photo: Greg Donley/Cleveland Museum of Art
Nice to see your review from the CMA. Susan Slaby
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