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Tag: Apollo’s Fire: The Cleveland Baroque Orchestra

Apollo’s Fire: The Cleveland Baroque Orchestra at Tanglewood

For some time now, Tanglewood has included a variety of distinguished soloists and groups specializing in historically informed performance practice to play in Seiji Ozawa Hall, which is quite well suited to the less aggressive, more subtle colors of period instruments. Some seasons are more generous than others, and I personally favor liberality in this area, although the Berkshires enjoy one of the oldest and best of the early music festivals, Aston Magna. Tanglewood early evolved into a microcosm of classical music as practiced in America—and to some degree, necessarily, internationally—and HIP has become an essential part of a wider landscape, which embraces Tyondai Braxton, John Zorn, and Bernard Haitink all together. A forum like Tanglewood allows early music to be heard in this extended context. One thing we sorely miss in this—to me most welcome—movement is the ability to hear Bach and Handel on the same program as, say, Beethoven, Brahms, Stravinsky, and Webern. Beethoven and even Brahms can indeed flourish on period instruments, but the ability to look beyond them to the twentieth and twenty-first centuries is lost. And there is one more consideration…Tanglewood’s early music concerts always sell very well. And one more question…should the TMC include an early music component in their program?

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

Jeannette Sorrell, Music Director of Apollo’s Fire: The Cleveland Baroque Orchestra, talks to Michael Miller

Just yesterday I had the pleasure of talking with Jeannette Sorrell, Music Director of Apollo’s Fire, the highly acclaimed period orchestra based in Cleveland, where she founded it twenty-three years ago. Today, rather like the venerable Cleveland Orchestra, Apollo’s Fire tours extensively in North America and Europe, bringing Ms. Sorrell’s warm, expressive vision of Baroque playing to both seasoned and neophyte audiences. Tomorrow, July 2, she will lead them at Tanglewood in a program called “Bach’s Coffee House,” referring to the Café Zimmermann in Leipzig, where first Georg Phillipp Telemann and later Johann Sebastian Bach organised free public concerts. The program will include excerpts from Telemann’s incidental music to Don Quixote, Bach’s Fourth and Fifth Brandenburgs, and short pieces by Handel and Vivaldi.

About Michael Miller

Michael Miller, Editor and Publisher of New York Arts and The Berkshire Review, an International Journal for the Arts, was trained as a classicist and art historian at Harvard and Oxford, worked in the art world for many years as a curator and dealer, and contributed reviews and articles to Bostonia, Master Drawings, Drawing, Threshold, and North American Opera Journal, as well as numerous articles for scholarly and popular periodicals. He has taught courses in classics, the English language, and art history at Oberlin, Rutgers, New York University, the New School, and Williams. Currently, when he is not at work on The Berkshire Review and New York Arts, he writes fiction, pursues photography, and publishes scholarly work. In 2011 he contributed an introductory essay to Leonard Freed: The Italians / exh. cat. Io Amo L’Italia, exhibition at Le Stelline, Milan, and wrote the revised the section on American opera houses in The Grove Dictionary of American Music. He is currently at work on a libretto for a new opera by Lewis Spratlan, Midi, an adaptation of Euripides’ Medea set in the French West Indies, ca. 1930.

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