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Classical Music
Janelle Gelfand on the classical music scene


Janelle's pen has taken her to Japan, China, Carnegie Hall, Europe (twice), East and West Coasts, and Florida. In fact, Janelle was the first Enquirer reporter to report from Europe via e-mail -- in 1995.

Janelle began writing for the Cincinnati Enquirer as a stringer in 1991 while writing a Ph.D. dissertation in musicology at the University of Cincinnati College-Conservatory of Music. She joined the Enquirer staff in 1993.

Born and raised in the San Francisco Bay Area, where she graduated from Stanford University, Janelle has lived in Cincinnati for more than 30 years. In her free time, this pianist plays chamber music with her circle of musical friends in Cincinnati.

She covers the Cincinnati Symphony, May Festival and Cincinnati Opera, the Cincinnati Chamber Orchestra, chamber music ensembles, and as many recitals and events at CCM and NKU as possible.

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Tuesday, January 31, 2006

Readers respond to the Arts Camp story


Reader response from the arts camp story on Sunday has been filling my mailbox. Here are a few letters:

"I was delighted to read your article this morning about Interlochen. My experience at Interlochen had a profound influence on my life and I am always 'sounding the call of Interlochen' so that others can have their own life-changing experience.

"I attended what was then called National Music Camp in the summers of 1974 and 1975 and graduated from the Interlochen Arts Academy in 1976. When I arrived at the airport for my first summer as a voice and radio broadcasting major, I carried on board my tennis racquet, and immediately noticed that all of the other campers had multiple instruments. Oh no, I thought, these kids are really serious!

"After a few weeks of feeling absolutely overwhelmed by the talents of my fellow campers, I had the opportunity to perform with the 500 member Festival Chorus and World Youth Symphony Orchestra in Beethoven’s 9th Symphony. Standing on the risers singing as part of that magnificent experience, I realized that being part of something amazing is just as important and meaningful as being a star.

"That realization, gained at Interlochen, helped me as a lawyer, business owner and now as a parent. In fact, I felt that my experience there was so meaningful that when my parents died, I chose Interlochen as the place to establish a memorial scholarship (the Harice and Robert Monyek Memorial Scholarship).

"Your article may open the eyes of a family in Cincinnati to the opportunity that can be uniquely found under the pines at Interlochen. Thank you." -- Marcy Monyek Goldsmith

"Now, to get all these applications completed & submitted-it feels like college!" -- Mary Johannigman, Wyoming (Mom of Katie)

"As the mother of a dancer, I found your article on Art Camp interesting. However, no article would be complete without Kentucky's Governor's School for the Arts. At last count it involved 11 art disciplines including dance, drama, musical theatre, visual arts, voice, architecture, creative writing, etc. This program involves hundreds of KY students as well as international students.

"And, unlike the programs in your article, this program is FREE. It also makes students eligible for hundreds of college scholarships. Our daughter attended GSA and received a Presidential Scholarship to UK (amoung other scholarships). She is a varsity member of UK Dance Team - though she does not have to dance to maintain her scholarship. You can find out more about this program through Google Kentucky Governor's School for the Arts. Thank You." -- Beth Schwarb

Note: We did, in fact, include that program, and the contacts for it are listed under www.cincinnati.com, keyword: camps

Although the story was really about sleep-away camps, we included a few local camps too. There are many, many other summertime arts offerings locally, including strings at NKU Prep and this one from the Art Academy:

"I really enjoyed your article in Sunday's paper on highschool students and
summer opportunities," writes Michelle Markert of the Art Academy of Cincinnati.

"The past few summers we have offered week-long classes for teens interested in art and taught by adjunct faculty members. We also offer a three week portfolio preparation class to assist high school students in preparing their portfolios for college admission.

"For younger artists we offer six weeks of visual arts day camps. This year
each week's theme will involve the concept of Green - sustainable design. We
have a long standing tradition of artistic excellence at the Art Academy of
Cincinnati." For info, check out www.artacademy.edu/commed.htm

Thanks for writing!


Monday, January 30, 2006

A response from Miami University Fine Arts Dean

In response to an article about the uncertain future of the Oxford String Quartet that ran in the Enquirer on Jan. 8, Dean Jose Antonio Bowen sent this letter to the editor, which never ran. This morning, he sent me a copy, so here it is:

Editor, The Enquirer:

The Enquirer's story about the future of the Oxford String Quartet (Jan. 8) raised false concerns. Miami University's School of Fine Arts is completely committed to the quartet's continued existence. When the previous violinist departed, the music department was quickly authorized to find a part-time violinist to replace her in the string quartet. It is not unusual for this quartet to use part-time musicians.

The story also misled readers about Miami's commitment to Western music. Miami's music department, like virtually all music departments, has begun to diversify the cultures represented in its offerings, but this growth has not come at any expense to Western music.

I do believe students should be more aware of a global context for everything, and not just music. As an editor of Beethoven Forum, I encourage the study of Beethoven, but I also love Duke Ellington and play with Miami's Global Rhythms ensemble. If we want our future musicians to succeed, we need to teach them about entrepreneurship, technology, importance of community and diversity of musical styles.

The Oxford String Quartet has its next concert March 20. I encourage everyone concerned to come and support this cultural treasure and the other diverse music we celebrate at Miami.

José Antonio Bowen, Dean
School of Fine Arts
Miami University


Saturday, January 28, 2006

Bruckner's heavenly length

In case you couldn't find the symphony review Friday night, here it is. Let me know what you thought about the concert:

Composer Anton Bruckner is known for the heavenly length of his symphonies. On Friday, Bruckner’s Symphony No. 5 performed by the Cincinnati Symphony Orchestra clocked in at 75 minutes, but under the baton of Paavo Järvi, it was 75 minutes power, emotion and discovery.

Friday’s concert was something of a horn lover’s paradise, with Bruckner’s glorious brass-filled buildups, and the Richard Strauss Horn Concerto No. 2, featuring German horn virtuoso Marie Luise Neunecker.

Bruckner was an Austrian organist whose religious fervor and organ-like chorale themes permeate his nine symphonies. He’s credited with being the first to expand the symphony beyond the scope of Beethoven’s Ninth.

His Symphony No. 5 has an unsettled, almost schizophrenic quality about it, because it never completes one thought before moving on to the next. Massive brass outbursts interrupt lyrical themes; great swells in the strings suddenly drop to nothing.

Järvi’s view had tension, yet he also brought out the Austrian color that so many interpretors miss. In the first movement, a moment of tremolo strings set against flute evoked the countryside as beautifully as the landler (folk dance) in the third movement.

The work opened with an extraordinary atmosphere in the strings, and exploded into a powerful brass chorale. There was a transparency of texture, in which details sprang out, and every note was meaningful.

Bruckner can be repetitious – but Järvi never let the momentum sag. Indeed, its sheer unpredictability of quirkiness and power kept one riveted. The scherzo movement had a kind of fierce power simmering beneath the surface, that alternated with Mahler-like moments of sunny lightness.

The musicians gave it their all, the winds phrasing with wonderful color, the horns glowing and the string ensemble shining. Richard Jensen’s timpani rolls brought each movement to a stirring climax.

There were multiple peaks and valleys before the final ascent, with the full power of the orchestra in all its sonic glory. It was an awe-inspiring summation that had the crowd instantly on its feet.

Opening the evening, Neunecker, who has based her career in Europe, made her debut in Strauss’ Horn Concerto No. 2 in E-flat Major. It has none of the angst of the time in which it was composed -- World War II – but is joyous and warm.

Neunecker is a superb musician, whose tone glowed, and whose phrasing was peerless. She projected a beautiful line through Strauss’ romantic themes, and performed with flourish in the blustery moments.

The slow movement had a lovely autumnal quality, and the finale was rolicking. Jarvi’s orchestra was lush and full of character.

The concert repeats at 8 p.m. today in Music Hall. (513) 381-3300.
E-mail jgelfand@enquirer.com


Friday, January 27, 2006

Silk Road CDs

For those of you who asked about recordings by Xu Ke and Edward Arron -- both artists appear on Yo-Yo Ma's first Silk Road album, "Silk Road Journeys."

Xu Ke has made some CD's of his own, that are available for $20 at www.xuke.net. They are a Japanese label, and not available in this country.


Sunday, January 22, 2006

Silk Road sounds for the Chinese New Year

The Chinese community celebrated the Year of the Dog with a spectacular display of fireworks Sunday evening in Corbett Auditorium. The fireworks were provided by Xu Ke, virtuoso of the Chinese erhu and a native of Nanjing, China.

Xu Ke joined cellist Edward Arron and pianist Wang Li for an unforgettable evening of "Music Along the Silk Road" -- music inspired by the exotic sounds from many cultures along the ancient Silk Road trade route. Both Xu Ke and Arron toured with Yo-Yo Ma's Silk Road Project.

(Arron's parents, by the way, were well-known members of Cincinnati's musical community: His father, Ron, was a violist in the Cincinnati Symphony and recently retired from the Metropolitan Opera Orchestra. His mother, Judith Arron, who died several years ago, left her post as manager of the symphony to become executive director of Carnegie Hall.)

The program opened with a familiar "Czardas" by Monti. But unlike anything you've ever heard, it was arranged for erhu and piano. The erhu, a 2,000-year-old instrument that probably originated in Mongolia, only has two strings that must be played without benefit of finger board or frets -- sort of suspended in mid-air. So it was jaw-dropping to see what Xu Ke could do in myriad showstopping numbers throughout the evening.

The Czardas is a well-known Hungarian showstopper, but the soloist, who held his erhu in his lap, showed that he not only possesses phenomenal technique, but is an artist of the highest musicianship. Everything was at his disposal, and somehow he made it look easy -- glissandos, left hand pizzicatos, double-stops and an expanded range of four octaves (from the usual two) up to the highest of the high harmonics.

The music on the program was a blend of East and West in several ways. The musicians commissioned Chinese composers to write "authentic" music -- using folk rhythms, Asian scales and improvisatory melodies, but written in Western forms and notation so that anyone could play it.

"Scenery of Tianshan" was nostalgic and exotic, with moments of Indian-like rhythms and a kind of serene beauty that was like walking down an ever-changing ancient road.

There was also a blend of instruments: the modern cello and piano, set against the ancient erhu. The combination resulted a fusion that was both accessible and stunning for its color, inventiveness and earthy folk quality.

Arron, 29, a young lion of the cello, was able to "bend" a pitch to evoke the high-pitched wail of the erhu, an instrument he believes is the ancestor of the cello. In the piece "Taiping Drum," the two instruments imitated the drum in absolute synch with split-second precision and a great deal of flair.

The "Atoshi Suite" -- a trio written by the pianist's father, Wang Yanqiao -- was beautifully written and full of atmosphere. It unfolded almost cinematically, through "Morning of the Atoshi," followed by a somewhat mournful lullaby and an exuberant wedding dance that included some virtuoso "spiccato" for the cello. (It's still perhaps a work in progress; the players announced that one movement was getting its U.S. premiere, and another its world premiere.)

Xu Ke, with Arron and Wang Li, treated with some bon-bons of the string encore repertory: Godard's deeply moving "Berceuse de Jocelyn" and Edward Elgar's "Salut d'amour." If you closed your eyes, you might have thought it was Mischa Elman.

After intermission came more amazing feats. The chirping quality Xu Ke achieved on his erhu in "Song of birds in a desolate mountain" was simply unbelievable. "First Erhu Rhapsody" had all the fireworks one associates with a Hungarian rhapsody and more. Xu Ke played the collage of irresistible tunes with tremendous passion, building to a frenzy at breakneck speed. He also used his erhu as a percussion instrument, slapping its bottom with his hands, or slapping bow against wood.

The grand finale was a selection of numbers with the CCM Philharmonia led by Chinese native Chen Lin, newest member of CCM's conducting faculty. The erhu player composed "Wind and Rhythm" to evoke the scenery of Shanbei in the north of China. It opened with an exquisite "bird call" in a flute, and featured gently melodic folk tunes, built on a pentatonic scale.

It took you to a different place and it took my breath away.

This was also our first look at Chen Lin, part of a new wave of talent bursting out of China. Not much older than her students, the 27-year-old led with an easy grace and confidence, becoming animated in the joyous moments.

Xu Ke brought down the house (a near-capacity crowd was there) in a joyful Chinese New Year piece, using a smaller erhu that projected a harsher, more extroverted tone.

He ended with another showstopper: Rimsky-Korsakov's "Flight of the Bumble Bee."

"Everyone knows the violin, piano and cello, but not everyone knows Chinese instruments," he explained to the audience in broken English. "I am trying to revolutionize the use of the instrument."

Surely, he has done just that.

The concert benefits the Greater Cincinnati Chinese Music Society.


Thursday, January 19, 2006

Familiar Sounds, Uncommon Offering

In case the symphony review didn't make your edition and you missed it online, here it is:

The Cincinnati Symphony Orchestra's program Thursday night may have been familiar to many concertgoers in Music Hall. But there was nothing ordinary about this performance led by Paavo Järvi with guest pianist Garrick Ohlsson.

Britten's "Young Person's Guide to the Orchestra" and Elgar's "Enigma" Variations were given performances that elevated them from the mundane to the magical. And in Ohlsson's hands, the Schumann Piano Concerto in A Minor was simply stunning for its warmth and romantic spontaneity.

Ohlsson’s career was launched 36 years ago when he won the Chopin International Piano Competition. A big man, he towers over the keyboard. Yet his touch is elegant, whether finding weight and depth in each chord or flying through pianistic figures with gossamer lightness.

The pianist communicated a sense of joy of discovery in each note of the Schumann Concerto. The first movement evolved almost like chamber music, with wonderful give-and-take between piano and winds. A dream-like episode between piano, clarinet (Jonathan Gunn)and cellos was enchanting; Ohlsson lingered on it longer than usual, for a moment of immense beauty.

His first movement cadenza matched bravura with poetry, but this concerto is not about flash. Ohlsson played the slow movement with great affection, which made the cello theme more glowing and nostalgic when it arrived. The finale was exuberant, light and quick, and Järvi and the orchestra made ideal partners.

The pianist brought down the house with his encore, Chopin's "Grand Valse Brilliante," Op. 18 – a piece every piano student plays, but never like this.

The source of the theme for Elgar's "Enigma" Variations is an enigma. But we do know that each of the 14 variations is a caricature of a person Elgar knew.

Järvi captured the disparate personalities while making it a cohesive, unified piece that evolved in one arc. He led vividly, whether drawing out the theme in a broad legato sweep or shaping a quirky, staccato passage in the winds.

The musicians gave a truly inspired performance. The seventh variation, for timpani and brass, unfolded in a spectacular display of adrenalin. The "Nimrod" Variation was veiled in extraordinary color and brought to a moving summation.

Orchestral soloists shone, such as the viola solo in No. 6 (Marna Street), the clarinet solo in the atmospheric 13th Variation (Richard Hawley) and the extroverted timpani in the finale (Richard Jensen). The brass performed with solid power and wonderful bluster throughout.

The program opened with Britten's "Young Person's Guide to the Orchestra," a showpiece for all the instruments of the orchestra. This was not your stately, lyrical Britten; Järvi brought out the work’s quirkiness, and the musicians played it with flair.

Some of the spontaneity that Järvi seemed to want was not quite there yet, but there were many enjoyable moments. Among them: The harp variation, which gave principal harpist Gillian Benet Sella and her new golden harp a moment in the sun.

Both British pieces will be recorded for Telarc.

The concert repeats at 8 p.m. Friday and Saturday. (513) 381-3300.
E-mail jgelfand@enquirer.com


Five reasons to go to the symphony this weekend


1. Paavo's in town. You know his concert is going to be electric. And, he's recording this program for posterity on Telarc.

2. You'll hear some of the best examples of British music in the orchestral repertory.

3. Britten's "Young Person's Guide ot the Orchestra" is not just for children anymore. It's an interesting set of variations on a theme by Purcell (another Englishman)that features various instruments of the orchestra. It's only been performed one other time by the Cincinnati Symphony.

4. Elgar's Enigma Variations is one of the most beautiful works Elgar ever wrote (and almost as familiar as his Pomp and Circumstance -- graduation -- march).

5. Garrick Ohlsson is one of my favorite pianists and he's playing Schumann's Piano Concerto, a great piece.

P.S. Tonight there's free food.

Tickets: Call 513-381-3300 or visit the symphony's web site. You can also download program notes there. (See Sandye's comment below for deals on tickets.)

Reviews: Watch the Enquirer on Friday, page A-2, for my review of the concert. If it doesn't make your edition, or you can't find it at www.enquirer.com, check here. I'll post it for you.


Wednesday, January 18, 2006

How to find concerts in the Enquirer's online calendar

Here it is, courtesy of the Enquirer's calendar team:

Cincinnati.Com’s calendar listings are always available online:
http://frontier.cincinnati.com/calendar/

Choose the category Music – Classical for smaller events or Music – Concerts for season performances.

There are currently more than 50 events listed in the Music-Classical category.

Readers also have the option of searching by the presenting organization or by the performance location.

Many entries have links to the presenter’s website for additional information.

Event information can be sent directly to calendar@cincinnati.com.


Tuesday, January 17, 2006

The conversation continues

Whew, watch out when you open your e-mail! This one came from Judy Evans today:

"Steve Dieters’ comments about the CSO were right on target. Sadly, many arts organizations do have an elitist attitude; and sadly, these organizations will fail unless there is a change in strategy. One look at the audience for most classical music events will quickly show an aging population that will not be around to support these organizations in 10 or 20 years.

Unless we find a way to appeal to a younger audience, starting with our school children, the arts will go the way of the dinosaur. Ticket prices for the CSO are clearly an issue. Most students cannot afford to buy tickets, and families have to take out a second mortgage in order to attend some of these concerts. Trying to make up any deficit through single ticket sales is NOT the long-term answer when ticket prices are already high. We’re not building a new audience. We’re just charging the same old folks more.

It’s also curious why the CSO decided to eliminate their Concerts in the Park program this year. What a great way to get families with children to test drive the CSO. Also, downsizing Music Hall before all other options have been exhausted clearly admits defeat. Why not spend the money that would be used on construction to develop a marketing campaign aimed at our young people?

Like it or not, safety IS an issue in Over-the-Rhine. We have friends who are EMS workers downtown. These individuals confirm that we only hear about a small percentage of the crimes that go on in this area. Perception or not – safety is an issue. And having to add another $8 to an already expensive evening at the symphony in order to park in the adjoining lot could be enough to keep a lot of people at home.

It’s like ‘Dr. Phil’ says – you can either be happy, or you can be right. The CSO management needs to find a way to be happy. Being right and ignoring the facts – if that’s what’s going on - will not get the job done.

I agree too with some of Anonymous’ comments about The Enquirer. I LOVE change and realize that sometimes management has to shake things up to market to different audiences. But with that said, I find it difficult lately to know where to look consistently for classical music events.

The Calendar used to provide a thumbnail sketch for a LOT of different organizations – with contact information for follow-up if more details were needed. Now, it’s hard to know where to look for these events on a day-to-day basis. Plus, more space is given to a smaller selection of events vs. providing more events from which to choose. It’s great if your organization is featured, but not so great if you’re looking for a variety of entertainment options.

Also, it seems that we should be focusing on local events rather than on those in cities like Columbus, Indianapolis, etc. The Enquirer is a local paper. It should use its space to concentrate on things in our community.

Thanks, Janelle, for giving your readers an opportunity to vent. Hopefully, some of these comments will find their way to those who are in a position to effect some changes."

Got beefs? Solutions? Let me know!!


Monday, January 16, 2006

Filling seats at the symphony

Here's a letter I received when I opened my e-mail today, following Sunday's Arts package. The writer, Steve Dieters, a regular concert-goer, sends this:

"You have mentioned in the last couple of weeks the declining attendance at the Symphony. ... The target marketing that Boston is using sounds interesting, but it is just a morphing in another more specialized direction of the elitist attitude that pervades this industry. Until they realize that they are entertainment that can be for a larger number of people and acknowledge that they are competing against other forms of entertainment (ballet, Broadway series, movies, TV, sports, cable, the internet, video games, etc. etc.) in order to occupy a finite amount of time people have available charging ticket prices that are way below the range of the "sale" tickets they are now promoting, they will continue to flounder.

"It's interesting that they seem to think the attendance problem is the fact that Music Hall is too big (I've never gotten my arms around the logic of that one) as opposed to how do we fill the place up!

"The video screens and parking/safety issues were discussed at great length at the focus groups I attended in the mid-90's and they were met with shrugs or guffaws by those who were seeking input or diligently commented to a legal pad to be filed away with other input to be ignored.

"One thing I know for sure is that as we have discussed over the years is that the audience is getting older and not being replaced as they stop coming for one reason or another. I can't help but think that upper management at the CSO is just putting in time till they retire and then it will be someone else's problem.

"Until the Symphony, and this industry for that matter, adopts a radical new business model it may very well go the way of chariot races. You may think that is a ridiculous comparison, but this is a business model that cannot sustain itself. No question about it. I will continue to go to concerts, but I have to admit I'm running out of gas for a wide variety of reason ranging from higher ticket prices to in my view programing that is getting increasingly stale."

Got ideas to help the symphony? Opinions? Let me know!


Monday, January 09, 2006

It's no "American Idol"


What an intense experience it was to cover the Metropolitan Opera National Council Auditions over the weekend at CCM! My hat's off to the volunteers who organize this event every year, including Richard Lauf, a former P&G-er and Southern Ohio District Director, and his impressive committee.

And speaking of impressive, what a showing from CCM, which has one of the finest opera departments in the country. Out of 28 in the District Auditions, 13 contestants were CCM "kids." When three CCM singers advanced to the Regionals on Sunday, and one to the Nationals -- Corey Crider -- it continued a tradition of a strong showing in this contest. Corey, who is 29, beat a total of 68 singers from three districts to get this far.

Donna Loewy, shown above with contestant Laura Smith, has accompanied singers in this event for 20 years. She points out that last year, Tamara Wilson, a CCM masters student, wound up a national finalist in the top 10 in New York. And a few years ago, CCM had three in the top 10: Stacey Rishoi, Daniel Weeks and Kirk Eichelberger. Stacey finished in the top five.

Stay tuned as we follow Corey when he sings in New York in March!



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