Cleveland Rocks!

Disclaimer: This is posted by a card-carrying member of Red Sox Nation, now smarting over a 3-1 deficit in the ALCS…

Monday was a good night for Cleveland at the Jake and at the Ken Cen, where yours truly got the chance to see the fabled Cleveland Orchestra up close and personal. Not that they’ve been strangers here…their press dept. helpfully pointed out that the orchestra has played 57 times in DC, including 43 times in the Kennedy Center’s 36-year history.

And they are still as good as advertised: In his excellent NPR Listener’s Encyclopedia of Classical Music my old friend Ted Libbey writes: “The Cleveland Orchestra is very nearly in a league of its own, a crack ensemble with an esprit de corps matched by only a handful of orchestras in the world. Its recordings are the discographic gold standard. ” Hard to argue with that assessment, on disc or in person. Monday night the orchestra had plenty of virtuosity on display, to go with usual crack ensemble playing and spot-on intonation. And, unusually, pride of place to the viola section, who were seated opposite the first violins, with the cellos and second violins filling in the middle around conductor Franz Welser-Most.

On the program: Mozart’s Symphony No. 28. Not a symphony you hear all that much, but with some absolutely propulsive outer movements with some feverish fiddling. You want a “discographic gold standard?” The October ’65 recording made by George Szell and the Clevelanders (reissued on CD in 2006) is still amazing. Clarity, balance, and speed – with no sacrifice in precision. When critics talk about Szell’s ability with Mozart as “chamber music for symphony orchestra,” they’re talking about recordings like this.


But the Mozart was merely a warm-up for what came next: The Guide to Strange Places by John Adams. I’ve blogged about Adams before and doubtless will again, and while I didn’t love everything about the piece (at 24 mins I think it’s about five minutes too long), it’s pretty damn cool, with cascading blocks of sound moving through, over, and around the orchestra. Or, in the words of the New York Times: “a jarringly turbulent piece, channeling its energy into shifts of clashing colors, both visual and emotive.” And a visual treat to watch the internal ballet of the stand-sharers in the violin section turning the pages for their stand partners as carefully-
and quickly- as they would for any virtuoso pianist.

But what really grabbed me was not so much a “Strange Place” but a location thoroughly familiar to us hardy Harpers Ferry residents. Adams’ inventive scoring includes a Doppler-effect freight-train rumbling through the brass and percussion sections….a sound I hear routinely as long freighters go rumbling into the night through the Harpers Ferry Gap.


Adams absolutely nailed the sound. Despite the fact that nearly everything Adams has written is available on CD, you can only hear this snippet of the Guide on Adam’s extremely well-done website.

Strange but true footnote: This piece represents a connection between the Pulitzer Prize- winning composer and the 2nd president of the US beside the fact that both were born in Massachusetts: The “Guide to Strange Places” was commissioned and first performed by the Netherlands Radio Philharmonic at the Concertgebouw. And before he succeeded George Washington, the “other” John Adams was the first US ambassador to the Netherlands, where his efforts at diplomacy are seen as so significant that he recently merited a three-part series on Radio Netherlands called Adams in Amsterdam. And then I found out there’s a John Adams Institute in Amsterdam…an independent, nonprofit foundation dedicated to furthering a longstanding tradition: cultural exchange between the USA and the Netherlands. Founded in 1987, the John Adams Institute continues to expose the best and brightest American writers and thinkers to audiences in The Netherlands.

Back to the concert…the Clevelanders closed out with a performance of Tchaikovsky’s “Pathetique” Symphony (No. 6) that was everything as advertised. Ted Libbey again:

It is still fashionable for critics to dismiss Tchaikovsky as one of two things: a superficial manipulator or a self-absorbed boderline hysteric wallowing in his own emotions. He was neither…He managed to create worlds of feeling in his symphonies. Tchaikovsky biographer David Brown calls the Pathetique “The most truly original symphony to be composed in the 70 years since Beethoven’s 9th.”

As the first truly tragic symphony, concerned with loss, isolation, and despair, it projects a negative image of Beethoven’s triumphant aspiration, in place of spiritual transcendence, it seeks annihilation. This marks a fundamental turning point in the history of the symphony. Psychologically, the Pathetique symphony marks the beginning of modernism.
The Clevelanders did not disappoint. And the Kennedy Center audience behaved…no applause at the end of the third movement, to my surprise.

Lots of applause at the end, and no encore either. Now they’re off to Carnegie Hall and the Musikverein. And I’ll have more on Adams in a bit.

Postscript: The Washington Post review of this concert can be found here. Don’t know how the reviewer got the impression was a U.S. Premiere, however, since DC’s own National Symphony Orchestra played it on their East Coast Tour three years ago.


On the Road – PRPD, Digital Lincoln, and Cuban Jazz


PHILADELPHIA – All quiet on the blog front lately, thanks to a combination of travel, deadlines, and Harpers Ferry business. But I’ve been saving up a lot of thoughts to share about the PRPD Conference last week in Minneapolis (PRPD stands for Public Radio Program Directors, now the biggest confab in pubradio) and some recent Nooze of the World (Radiohead’s “free” downloads, for starters). And there will doubtless be lots to share about the next couple of days here in Philly, where I’m a guest of the Rosenbach Museum and Library. They’re a fascinating operation with some interesting and varied stuff in their collection, including the Maurice Sendak Gallery (which for copyright-CYA reasons are not snapped for this blog but you can see them here).

Anyway, I’m in town to brainstorm with them about another significant part of their collection – a huge troves of materials around the 16th U.S. American President – Honest Abe’s letters, speeches, and other writings. The Rosenbach is looking to create a “Digital Community” based on the life story, ideas and words of Lincoln. That’s what I know so far, at least. Can’t wait to roll up the sleeves and dig in….once the effects of the Non-Dairy Creamer wear off…

Oh, and Cuban Jazz….this is also a blog about music, remember? One of the highlights of the Twin Cities trip was a visit to the excellent – and somewhat renowned – Dakota Jazz Club (in the bottom floor of the massive Target headquarters) to hear the Cuban emigre Nachito Herrera. All the ingredients for a Great Night Out..excellent company with co-owner Lowell Pickett, and WBGO Jazz 88 PD Thurston Briscoe, an outstanding meal, and Nechito’s wizardry on a variety of keyboards, rollicking through an oh-so-Cubano charged night of rhythm and moods, ranging from light classical to Heavy Weather. One of the many highlights: hearing Nechito accompanying his 16-year old daughter in a lights-out rendition of Besame Mucho. Mucho indeed!