Severance
Hall
March
27
Drawing a professional sound from a student ensemble. |
One
of the most impressive aspects of the classical music scene in
Cleveland is its focus on youth. The Cleveland Orchestra’s Special
Showcase Concert earlier this month offered a reminder of how many
programs it sponsors to develop young players – a Children’s
Chorus, Youth Chorus, Youth Orchestra, and Isabel Trautwein’s El
Sistema transplant – along with regular Education and Family
concerts. And on Wednesday night at Severance, the Cleveland
Institute of Music Orchestra turned in a performance
that would have made any professional ensemble proud.
Along
with talented, CIM’s student orchestra is fearless, taking on
substantial programs like Wednesday’s challenging combination of
Mussorgsky, Grieg and Prokofiev. Under the baton of CIM Orchestral
Program Director Carl Topilow, the sound was superb and the execution
was razor-sharp, particularly in Prokofiev’s daunting Symphony
No. 5. Soloist I-Chieh Wang showed poise and great potential with
her deft handling of Grieg’s Piano concerto in A minor (Op.
16).
Mussorgsky’s
prelude to Khovanshchina, an
unfinished opera, portrays dawn on the Moscow River in gauzy textures
and shimmering colors. It’s a brief exercise in technique that the
players finessed nicely, with Topilow drawing a light, golden sound
from the strings and creating an ephemeral effect that lingered after
the piece gently faded to a close.
Great on the Grieg. |
Wang
is too young to have developed as a stylist, but her raw talent is
unmistakable. After opening the Grieg concerto with a strong
declaration of the famous piano phrase, she showed an assured and
surprisingly soft touch. In a piece that calls for a lot of banging,
Wang did almost none; her hands seemed to float above the keyboard in
fluid runs and dramatic flourishes, the lines clearly articulated but
never overstated. Sensitivity to phrasing and approach, striking
technical skills, mastery of the material – Wang had it all, albeit
in early-career form.
Topilow
helped with a fine job of balancing the orchestra sound, never
overwhelming the piano and opening up space for Wang to build drama.
Working largely off the strings, he maintained a silken feel and
muted volume until the closing moments, when he built the sound to
majestic proportions and steered the piece to a sharp, satisfying
close.
Topilow’s
forte is colors, and his charges did a masterful job of bringing them
to life in the Prokofiev symphony. Amid the heaving intensity of the
first movement, the brass shone vividly above the growl of the bass
drums and deep horns, and the multiple melody lines pulsed with
energy. The orchestra showed remarkable agility with a shift to a
more nimble posture and lighthearted tone in the second movement,
turning in a technical tour de force with crisp contrasts and driving
rhythms. The tension in the third movement was finely crafted,
setting up the fast pace and dazzling juxtapositions of the final
movement, with melodies and accents flitting through the orchestra
like birds, and the sound coalescing behind five percussionists for a
spectacular fireworks finish.
After
such a polished performance, it was a bit startling to see how young
and small the players were when they stood for applause, like someone
had put an adult orchestra in Mr. Peabody’s WABAC Machine.* Their
next concert pairs the orchestra with an outstanding chamber
ensemble, the Kalichstein-Laredo-Robinson Trio. Circle the date and
prepare to be impressed.
For
more on the CIM Orchestra’s next concert:
https://www.cim.edu/calendar/main.php?view=event&eventid=1342533925261
For
more on Carl Topilow: http://www.carltopilow.com/
*Sorry
about the obscure reference, which is explained here:
http://en.wikipedia.org/wiki/WABAC_machine
Photos courtesy of CIM
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