Chopin and Rachmaninoff with Nobuyuki Tsujii and Slobodeniouk at Severance

2025’s Summers at Severance series concluded Thursday with guest conductor Dima Slobodeniouk and guest pianist Nobuyuki Tsujii.

Tsujii is 36 years old and hails from Japan.  He has been blind since birth but that didn’t prevent him from tying for the Gold Medal at the 2009 Van Cliburn International Piano Competition.  Based on what I heard last night, the prize was entirely deserved.  He and the orchestra performed Chopin’s Piano Concerto No. 2 in F minor, Op. 21, a concerto which has been somewhat underappreciated on account of its orchestration which is sort of “meh.”  It’s also a finger twisting challenge for even the most gifted pianists.  Tsujii’s mastery of the work was not merely a question of technique, which would be superb even in a sighted person; Tsujii’s interpretation was entirely his own without resorting to eccentricities.  The pianist avoided unnecessary swooning rubati, instead using constantly shifting dynamics and coloration for expression.  Slobodeniouk and the orchestra presented a lovely accompaniment, with greater clarity than is often heard in this work.  For example, there was a melodic line in the celli that I’d never taken particular notice of in recordings, and the brief sequence in the finale where the strings play col legno battuto (with the wooden side of the bow) was appropriately charming and rustic.   

The performance was rapturously received, and the pianist’s encore was a staggering yet musical rendition of Liszt’s La Campanella. 

Following intermission Slobodeniouk returned to lead the orchestra in Rachmaninoff’s Symphony No. 2 in E minor, Op. 27.  The Cleveland Orchestra has a long association with this symphony, being the first orchestra to record the work in 1928.  The orchestra’s library still has the conductor’s score used at those sessions,  marked in the composer’s own hand with the cuts made to fit the work onto twelve 78rpm sides.  Slobodeniouk performed the work without cuts, as has fortunately become customary these days.  Initially, the first movement moved tepidly along, only catching fire during the long development section where the violas play those low dissonant notes.  From there things improved and Slobodeniouk brilliantly drove the climax and coda home.  The scherzo which followed was on point, with brilliant pacing and voicing of the central fugal section.  The third movement had a lovely plasticity of phrasing, with alternate tension and relief.  This led to a beautifully expansive finale with wonderful use of dynamics and eschewing of the cheap sentimentality occasionally heard in this work.  At the work’s rhythmic conclusion, the conductors eyeglasses flew from his head and into the viola section, where they were promptly retrieved by a violist.

The orchestra’s 2025-2026 season starts in September, and I have already purchased tickets for 20 of the performances. 

90 years of Social Security

Every once in a while, I like to peruse Redfin and other realty sites and look over house listings.  As they say, the three most important things in real estate are location, location, and location.  It continues to amaze me how a modest mid-century modern three-bedroom, two-bathroom home in Palm Springs will sell for over a million dollars.  Despite the increase in local property values over the past five years, one still gets far more for one’s money in northeast Ohio. 

Lately I’ve been looking at homes in Shaker Heights.  There is a section in southeast Shaker with some very attractive two-family homes – although they appear to be single family homes to the casual observer.  Many of these homes have a larger upstairs unit on the second and third floors, and a smaller unit on the first floor.  Closer to the center of Shaker, there are numerous homes with the following layout: social spaces (living and/or family room, sunroom, dining room, and kitchen) on the first floor; bedrooms with two full bathrooms on the second floor; and small bedrooms with a small bathroom (often with a tub but no shower) on the top floor.  I find this layout interesting as the top floor would be ideal for flex space: workout room, office, or guest bedroom.  Nearly all of these houses were built prior to 1930.

What’s the story behind these houses?  Simply, the top floor was meant for servants – usually one cook and one housekeeper.  Before the Great Depression there was a surplus of people who worked as servants.  Most were single younger females or widows and, in the era before the minimum wage was established, they worked for a pittance with no benefits aside from room and board.  Often the servants’ quarters were accessible only through a separate staircase.

My maternal grandfather came of age in a family which had servants under this setup.  He died long before I was born, but I remember visiting his sister’s home in Columbus.  Even as a small child I was impressed with the place, especially the door from the kitchen to the dining room that opened both ways and, yes, they had a servant.

With the growth of the middle-class that accompanied the post-war economy, the live-in servant paradigm came to an end.  In particular, older people were not obligated to work until they died thanks to the Social Security Act, which was signed into law 90 years ago today.

Politicians of both parties, but especially Republicans, have been tampering with Social Security for the last few decades, to the programs detriment.  Early in his second term, President George W. Bush tried to move the Social Security Trust fund toward private investments, which was met with widespread disapproval and began to fracture his political coalition – a fracturing which accelerated after his administration’s inept response to Hurricane Katrina.  Others within the right-wing have tried to mislead people into believing that Social Security is a Ponzi scheme.

This need only be stated for those who don’t understand how Ponzi schemes work: Social Security is not a Ponzi scheme; it is an insurance program which has worked extraordinarily well for 90 years.  As with any insurance program, not every payer of premium receives a benefit, e.g., some die before they reach retirement age.

Today, Social Security is in profound danger of collapsing.  A few simple fixes would make the Social Security trust fund solvent into the 22^nd Century: First, raise the cap on taxable income.  Second, gradually, over time, raise the retirement age by six-month increments every five years commencing in ten years.

Democrats seem unwilling to fight for this multi-generational contract which has saved literally tens of millions of senior citizens from poverty ridden old age.  MAGA Republicans seem desirous of ending the program – even though it is revenue neutral. Part of this worsened by their clamping down of immigration, since migrant workers pay into Social Security but will not draw benefits unless they become citizens. As Harry Truman once said, “The only thing new in the world is the history you don't know."  Truman, an economic populist who tried to institute national health insurance, would be appalled not only by Republican actions, but by the lack of Democratic fire over the issue.  Even Republicans like Dwight Eisenhower and Richard Nixon, who believed in Keynesian economics, would be shocked at the direction their party has taken.

The economic goal of today’s MAGA Republicans is not merely to destroy the social safety net which has helped prevent another Great Depression, they want to take us back to the age of the Robber Barrons and possibly instill a neo-feudalistic economic system.

Unless the average citizen fights back, that’s exactly what they are going to do.   

Liszt, Dohnányi, and Bartók at Severance

The Summers at Severance series continued with guest conductor Christoph Koncz leading The Cleveland Orchestra in music of Hungarian composers Franz Liszt, Ernő Dohnányi, and Bela Bartók.

The concert began with one of Liszt’s better-known orchestral works, Les préludes (Symphonic Poem No. 3).  Truth be told, I’ve never been a huge fan of this piece, nor any of Liszt’s works for orchestra.  It’s always sounded like rather pompous film-music to me.  But Koncz made a convincing case for the work, with a crisp presentation of the material, devoid of mawkishness, sentimentality, or phony swagger. 

Ernő Dohnányi (sometimes referred to as Ernst von Dohnányi) was the father of Hans von Dohnányi, who was murdered by the Nazi regime for his resistance to Hitler, and the grandfather of Christoph von Dohnányi, who was conductor of The Cleveland Orchestra from 1984-2002.  The Symphonic Minutes, Op. 36, from 1933, is an entirely new work to me.  The five short movements - with their very interesting use of rhythm, piquant harmonies, and orchestration - were a delight to hear.

Following intermission, the concert concluded with a surefire hit: Bartók’s Concerto for Orchestra.  Koncz led the orchestra in a performance which was well structured and proportioned, with clear balances, humor in the Interrupted Intermezzo (to the extent that I had to keep myself from laughing out loud at the parody of the theme from Shostakovich’s Seventh Symphony), and spectacular brass playing in the finale.

As a conductor, Christoph Koncz provides direction for the orchestra without needing to put on a balletic show for the audience.  One would like to hear him in more varied repertoire, but based on what I heard and saw last night, he should be on the short list as a possible successor to Franz Welser-Möst.

Despite the hall being only about half-full, the audience was attentive and highly enthusiastic.  

Beethoven, Stravinsky, and Ravel with Santtu-Matias Rouvali at Severance

The Cleveland Orchestra’s Summers at Severance series continued with guest conductor Santtu-Matias Rouvali.  With the relatively young conductors guesting at Severance (Rouvali was born the year I graduated high school) one can’t help but wonder if these concerts are serving as quasi-auditions as the orchestra searches for a successor to music director Franz Welser-Möst, who steps down in two years.

Appropriately for a work composed as the 19^th Century dawned, Beethoven’s Symphony No. 2 in D major, Op. 36 looks slightly backward – but mostly forward, and marks the transition between that composer’s early and middle periods.  The work is shorter in length than most of his later symphonies, but it boasts a larger orchestra and discards the traditional minuet in favor of a more energetic scherzo.  As with Beethoven’s Third Piano Concerto, his Second Symphony’s opening movement is longer and more complex than was common at the time.  As a relatively forward-looking work, Vienna’s conservative critics were ready to pounce, one referring to the merry, vigorous finale as "a hideously writhing, wounded dragon that refuses to die, but writhing in its last agonies and, in the fourth movement, bleeding to death."  There was plenty of vigor and merriment in Rouvali’s way with the piece – I use the term “way” instead of interpretation deliberately.  It was a technically polished, surfacy rendition.  The Larghetto was a pretty chain of melody but was missing the depth one would hope for this movement – the tension leading to the minor section was all but missing.  Meanwhile, Rouvali seemed to enjoy putting on a show with numerous extraneous gestures that seemed geared for the audience more than for the orchestra’s – or the music’s – benefit.  That said, the playing had all the polish one usually expects with The Cleveland Orchestra – but how much of that belongs to the players and how much to the leader?

There is something appropriate about choosing this particular Beethoven symphony for the program, as both the third and fourth movements have a dancing quality, and the post intermission works originated as ballet music.

Stravinsky’s ballet score, Jeu de cartes (Game of Cards), comes from 1936 and is a product of the composer’s neoclassical period.  Each of the three “hands” starts with a fanfare: the cards being dealt to the players – invisible players because in the case of the ballet the cards have a life of their own.  Most prominent is the Joker whose motifs are capricious.  Rouvali was more convincing here – it was obvious he knew the score inside and out.  He kept things balanced and moving in an appropriately balletic fashion.

The evening’s final work, Ravel’s Suite No. 2 from “Daphnis et Chloé” is a piece I’ve come to love again and again.  It’s gorgeously orchestrated: in addition to the usual strings, winds and brass, Ravel includes the triangle, tambourine, castanets, glockenspiel, two harps, and celesta.  It goes beyond ballet into the realm of an orchestral tone poem, and Rouvali exploited the orchestra’s huge dynamic range – from the hushed woodwind pianissimos of the beginning to the full orchestra crescendo that followed.  Here, Rouvali was fully in his element, leading playing that included gorgeous splashes of color, perfectly timed rubatos, and fortissimos that were plenty loud but never harsh.  It was a stunning performance that rightly brought the audience to its feet. 

But as convincing as Rouvali was in the Stravinsky and Ravel, his Beethoven was wanting.  As versatile as our orchestra is, they built their reputation on the core classical repertoire of Mozart, Beethoven, Brahms, and Wagner – along with advocating for new music.  Based on the above and on what I heard last night, I don’t feel Rouvali is a match for Cleveland.

Wolfgang Mozart and Richard Strauss at Severance

The 2025 Summers at Severance series kicked off with guest conductor Marie Jacquot leading a program of Mozart and Richard Strauss.  It was a contrasting concert with both große kleine Kunst and kleine große Kunst.

The concert began with a brisk rendition of Mozart’s Overture to Don Giovanni, K. 527.  It’s interesting to me that such a consequential opera has such a brief overture – yet it beautifully encapsulates the whole work.  The performance was immaculate and slightly small scaled, as would have befitted an opera house orchestra from Mozart’s time.

Violinist Randall Goosby then joined conductor and orchestra for Mozart’s Violin Concerto No. 3 in G major, K. 216.  Goosby brought flawless technique, a sweetly vocal tone, and a welcome avoidance of HiP mannerisms to his performance.  The second movement in particularly flowed beautifully – “like oil,” as Mozart frequently wrote in his letters to his father.  It was interesting to note that the work doesn’t end with a bang like so many of Mozart’s concertos, but rather disappears wittily.  Goosby’s and the orchestra’s performance were warmly received, and the soloist played a gorgeous encore: Louisiana Blues by Coleridge-Taylor Perkinson.

Both the Mozart works were relatively brief, an example of große kleine Kunst – i.e., great art in small form.  I’d never heard Richard Strauss’s Symphony in F minor previous to tonight – indeed, this is the first time the Cleveland Orchestra has presented the 1884 work.  Think of that: the work was premiered the year Harry S. Truman was born – and not heard locally until last night.  The Symphony, at 45 minutes long, is a textbook example of kleine große Kunst – a large work of art with relatively small merit.  I don’t mean to imply that the work is of zero merit, but it barely hints at the greatness that lay in Strauss’s future.  One hears influences by Schumann and Brahms in the work, without the conciseness of form that the latter brought to his symphonies.  There are themes aplenty, but they are not very well developed.  On the other hand, the symphony demonstrates Strauss’ mastery of orchestration.  Still, it’s an impressive piece for a barely 20-year-old composer which hints at far greater things to come.  But in the end, the symphonic whole amounted to less than the sum of its four movements.  Jacuot, a gifted conductor, made as persuasive a case for the work as anyone could.  Whatever the work’s shortcomings, I hope Cleveland audiences won’t have to wait until 2166 to hear it again.

The house was well filled with an attentive mix of familiar and unfamiliar faces, with applause between each of the movements of the concerto and the symphony.

Independence Day and the prison of Provincialism

As I’ve stated in previous posts, Independence Day means more to me than the founding of the United States.  It represents the adoption of a philosophy which ought to be reexamined from time to time.  While many Americans will be grilling hot dogs and burgers, waving flags, and setting off amateur fireworks this weekend, how many have actually read the full text of Declaration of Independence?  I have, and it makes for good reading – especially today, when so many of our rights are under attack. 

Take for example, this complaint aimed at the British Monarch, George III:  

“He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.” 

Is what George III did all that different from what has been happening across the country since 2017, where polling sites are being shuttered in minority areas and mail-in ballot options are being restricted – thus suppressing voter turnout in those areas?

Or this concern:

“He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.”

In other words, George III was placing restrictions on immigration.  Sound familiar?

There are other concerns voiced in the Declaration which presage today’s concerns, from restricting trade to quartering armed troops in cities.  I’m tempted to opine that the dude would have loved Trump and his minions.  George III, a weak monarch who was doing as his ministers advised, did these things because he was led to believe that they would intimidate the disobedient colonists from acting out further.  George and his ministers miscalculated. 

While few Americans will have read the passages above – much less understood how they relate to today’s political struggles, many will spout the most ridiculous nonsense without a trace of irony.  And many who disagree with them will remain silent for fear of causing offense.  Part of this is because the notion of objective truth has been under attack, and I feel it is not exaggeration to state that truth is in danger of dying altogether – killed by bias, driven by social media.

Today, social media locks people into their own biases and prejudices.  This is by design, because those who have monetized social media have learned that engagement is driven by calculated outrage and confirmation bias.  What is confirmation bias?  An example: someone uses a search engine to research a topic – for example, conspiracy theories about vaccines, the moon landing, or 9/11 – and finds an article or a YouTube video which agrees with their viewpoint.  In other words, they locate something that confirms their bias.  They click on the link, which becomes part of their history – which the algorithm perpetuates by sending similar links their way.  In essence, without even knowing it, users close their own minds. 

As demonstrated in Yuval Noah Harari’s erudite book Nexus : A Brief History of Information Networks from the Stone Age to AI, the tendency toward confirmation bias in social media, where disinformation is equated with truth, can have catastrophic results.  Both Facebook and YouTube played a significant role in worsening the Rohingya Genocide.  It’s not as if those who programmed these social media tools deliberately set out to kill human beings, but the algorithm programed into them prioritized engagement over human wellbeing.  For “engagement” means money.

Despite waxing and waning content moderation, the trend continues to this day – as demonstrated by the increasing toxicity of most prominent social media platforms. Confirmation bias is taken to its furthest degree in Donald Trump’s ironically named app, Truth Social – which, despite its all-American chest thumping, was financed by Chinese and Russian interests.

This phenomenon is not unique to the United States.  It has been observed in the United Kingdom, Brazil, and Argentina as well – where manipulation of social media enabled unqualified political candidates who would not been elected dog catcher 20 years ago to obtain leadership positions. 

Confirmation bias dates back to long before social media.  It was most prevalent in what has been known as the ghetto.  Understand that when I use the term “ghetto,” I don’t mean in the modern American sense – which generally refers to a lower income African-American neighborhood – but in the classic sense, which refers to an insular, ethnically/religiously homogenous area.  For centuries, these places were necessary for simple survival.  That is no longer the case except in the most backward parts of the world.

For a brief period, I lived in a “gayborhood” in suburban Boston, Massachusetts.  As a young gay man establishing his identity, it had its advantages.  But eventually the conversations became repetitive and tiresome: which guy from the gym might be gay, who had the best body or attribute, and Madonna – lots of Madonna.  It all became a bit stultifying, like living in an echo chamber.  I had forgotten my annoyance with the paradigm until my husband Daniel and I spent some time in one such neighborhood a few years ago: Wilton Manors.  I found it depressing.  From what I’ve heard from others who lived in similarly homogenous places, my experience was far from unique.  Daniel and I now live in a very diverse suburb to the east of Cleveland now, and while I was happy to see three rainbow flags on my block this past month, I’m equally glad to live in a mixed community with people of all colors, creeds, orientations, and identities.  Variety is the spice of life.

Whether they are referred to as ghettos, shtetls, Ummahs, gayborhoods, or whatever, closed communities lead to closed minds. Social media has similarly placed users into “thought ghettos,” where Provincialism reigns.  Provincialism, sometimes also called “Parochialism,” is the enemy of freedom of thought – a liberty which is in danger.  It’s worth noting that in George Orwell’s 1984, people are prosecuted for “thought crimes.”  With many exploring their hidden desires and dispositions on apps and the frequent breaches of personal data, the notion of “thought police” is not as fanciful as it seemed in 1948.

I certainly understand having to navigate diverse viewpoints and complex conversations.  I am a registered Democrat who comes from what was once a solidly Republican family.  Both my parents and all of my grandparents were Republicans, and my great grandfather was a Republican member of the Michigan state legislature.  I am the only LGBTQ person in my immediate family.  My closest living gay biological relative is a second cousin who I haven’t seen in 35 years.  Recently I met up with my father’s sole remaining sibling, who is 89 years old.  During a wide ranging conversation, he related to me that he had been a Republican all his life but has never voted for Donald Trump.  He either voted Democrat those years or stayed at home.  While he still believes in the conservative philosophy as espoused by President Eisenhower, he laments the lack of bipartisanship.  I found my uncle’s perspective intriguing as it echoed something my father told me in March of 2016, just a few weeks before his death.  Additionally, my maternal grandmother began to align with the Democrats in her old age – she was appalled at the GOP’s cutting of social services and the hypocrisy of Newt Gingrich and other adulterous Republicans persecuting Bill Clinton over his sexual peccadillos.  While I have long supported the liberal economic philosophy as espoused by Franklin Roosevelt and Harry Truman (who were so far to the left economically that their policies would be aligned with Alexandra Ocasio-Cortez today), along with social policies that were not conceivable during the New Deal (like marriage equality), I also regret the lack of across the aisle communication.  But let’s not kid ourselves: It’s not Democrats who have steamrolled their agenda by firing senior ranked military personnel, firing Judge Advocates General, and crippling government agencies they don’t like.    

The America that used to exist, where leaders of diverse viewpoints talked to each other, made deals, even engaged in a little horse-trading, needs to reemerge.  Compromise may be a dirty word to some.  But it is what allowed us to beat fascism abroad, land a man on the moon (yes, that really happened), and win the Cold War.  The loss of the ability to compromise has led to the credible threat of fascism at home, crippled our scientific and space programs, and helped a resurgent, imperialist Russia gain a foothold in Eastern Europe.

In the end, it may be that the Revolutionary War was for naught – a 250-year experiment that ultimately failed. 

So, on this 4^th of July, let us declare our independence from the prisons of closed-mindedness and from provincialism in all its forms.

And read the Declaration of Independence.

Spanish Fantasy

 I draw inspiration for my compositions from people, places, and emotions.