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CSU Faculty Recital @ Drinko Hall 2/17 It would be a great thing to someday solve the mystery of why most of the local music schools have such a wonderfully rich and diverse schedule of recitals and concerts that are usually free and open to the public (many with free parking, even!) and yet they keep this information to themselves. A big deep dark secret. If you can successfully manipulate the web-site, you can frequently stumble over the information, but even then discovery of most of these events comes from other sources. Incredible. In other metropolitan locations, folks would clamor to pay good bucks to see and hear performances of the caliber that are regularly presented to Clevelanders, but yet the folks in charge keep it all secret. Do you suppose they don't really want an audience?

Well, last Tuesday was a great example of this situation. An interesting trio of not ordinary configuration, with music by the three Bs. What’s not to like? So what if one of those Bs wasn’t and of the multitudinous Bach family, but the contemporary, Cleveland-based award-winning composer, Margaret Brouwer? Two of the performers were principals in The Cleveland Orchestra, and the third could grace any musical stage anywhere at any time, based on this recital. It was a truly fabulous program!

Robert Cassidy is a fairly recent addition to the piano faculty at Cleveland State University, with a background of solo and collaborative recitals throughout the US and Canada. For this occasion in Drinko Recital Hall, he was joined by Richard King, principal horn and Stephen Rose, principal second violin, both of The Cleveland Orchestra. Passion and intelligence imbued the performance from first last note to last.

Mr. King and Mr. Cassidy performed two Sonatas for horn and piano; the first by Beethoven, the second by Ms. Brouwer. Although separated by nearly 200 years, there were still similarities between the two works. Both are challenging for the performers, although in different ways. Mr. King is always in total control of his instrument, regardless of range or dynamics. Mr. Cassidy dashed off the multitudinous octaves with deceptive ease. The result was a marvelously masculine performance of unusual vibrancy.

Ms. Brouwer’s Sonata began in a hushed voice, with the horn muted, while the piano emitted disjointed notes, sounding greatly like a wind chime. A dialogue between the instruments followed, with the horn as echo, in a lyrical segment. Each note was articulated separately as though repeating sung syllables. The second movement Riding to Higher Clouds was more heroic in nature yet still lyrical, although now slightly argumentative with the piano, rather than conversational as previously. A chugging sort of rhythm changed to fast repetitive notes, and for some reason I was reminded of Scriabin. I would truly enjoy hearing this piece again.

After intermission, Mr. Rose joined the duo for Brahms' Trio for Violin, Horn, and Piano in E-flat Major, Op. 40. Intensity and integrity were the hall-marks of this performance by musical equals in a standard of the repertoire. Having the softest voice of the three instruments, the violin was still perfectly audible, it’s sweet tone easily carrying over the others. Mr. Cassidy was most impressive in the beginning of the second movement, playing the abundance of octaves in a very hushed fashion, which is very difficult. Crisp articulation alternated with beautiful legato playing and the Finale brought the program to a vivid and frantic finish! Stirring interpretations, throughout.

Mr. Cassidy avoided a possible disaster with his quick recovery after a slight mis-hap by the page turner. Such things do happen, although not as often as could be, but it’s a measure of the professionalism of the performer to proceed as though nothing had gone amiss. Mr. Cassidy did just that, in superb fashion.

There is a calendar of sorts at the CSU site: http://www.csuohio.edu/class/music/calendar.html.

From Cool Cleveland contributor Kelly Ferjutz artswriterATroadrunner.com
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