I went to Midori's recital at Cleveland Institute of Music last night. My review on Cleveland Classical is here.

It was incredible playing, astoundingly controlled. Her bow hand is unbelievable.

But oddly, the fire was not there, even in the Kreutzer.

My pet peeve (you've heard this before): don't program the most intense piece for the end of the concert. Ears like mine get tired. Performers get tired. The juice runs out.

I think the second part of the first half is the key: it's when we're warmed up as listeners, and at our most attentive.

Frankly, I think recitals should be shorter, too: under two hours. We pay a lot  to hear these performers, but we don't pay by the minute.

More thoughts from readers are welcome!

Brandenburgs!

I had the chance to hear, and review, Apollo's Fire's latest concerts, featuring Bach Brandenburgs 1, 2 and 5. So many NEW experiences of some very familiar works!


Want to know more? Check my review at ClevelandClassical.com.


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Trio sonatas and other delights

Oberlin's a tiny place that also happens to hold many of the world's joys. Great libraries, art museum, residents, students -- and visitors. Two recent visitors brought great Baroque music -- with two of my good friends who live here!


If that's enough of a teaser, link over to ClevelandClassical to read more:
Review
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Early Music -- Cleveland

It's astonishing, the wealth of early music performances at a high level in the Cleveland area. There's Oberlin, of course (more soon on that). There's Apollo's Fire, Jeannette Sorrell's prolific 20-year old baby. There's the relative newby, Debra Nagy's Les Délices, specializing in oboe and French music. And now, Burning River Baroque. I'm not sure I'm happy about the name (memories of the OLD Cleveland!), but the group is promising and fun.

My review of their concert this weekend is here, at Cleveland Classical.