The Cleveland Orchestra John Adams, conductor Aaron Diehl, piano Mandel Concert Hall Severance Music Center Cleveland, OH February 19, 2026
Ives: From Greenland’s Icy Mountains (from Symphony No. 4) Andres: Made of Tunes Adams: Frenzy Piazzolla-Adams: Three Tangos
Following the previous week’s American program with Barbara Hannigan, The Cleveland Orchestra presented a second offering of American works with the doyen of living American composers himself at the podium, John Adams. Adams has a long, fruitful history with TCO and this years marks the 35th anniversary of his local debut.
Mao Fujita, piano Mandel Concert Hall Severance Music Center Cleveland, OH February 17, 2026
Beethoven: Piano Sonata No. 1 in F minor, Op. 2 No. 1 Wagner: In das Album Fürstin Metternich Berg: Twelve Variations on an Original Theme Mendelssohn: Variations sérieuses, Op. 54 Brahms: Piano Sonata No. 1 in C major, Op. 1 Liszt: Isoldes Liebestod, S447
Encore: Rachmaninoff: Piano Sonata No. 1 in D minor, Op. 28 – Lento
In another memorable entry of The Cleveland Orchestra’s recital series, Japanese pianist Mao Fujita delivered a wind-ranging, thoughtfully-curated program at Severance Hall. This counted as his debut in the hall, having previously performed with TCO at Blossom in 2023. I recall viewing a live-streamed recital he gave in Berlin during the pandemic; even watching from my computer during those lonely days of lockdown, his playing was utterly enthralling, so an opportunity to see him in the flesh in Cleveland was unmissable.
Takács Quartet Cultural Arts Center Disciples Church Cleveland Heights, OH November 11, 2025
Haydn: String Quartet in G minor, Op. 74, No. 3, Hob. III:74, Rider Bartók: String Quartet No. 3 Dvořák: String Quartet No. 13 in G major, Op. 106
Encore: Debussy: String Quartet in G minor – 2nd mvt.
Founded in 1975 while students at the Liszt Academy in Budapest, half a century later the Takács Quartet continues to offer a gold standard of string quartet playing — and remarkably, still counts one original member in its ranks (cellist András Fejér). Tuesday night marked a welcome return to the Cleveland Chamber Music Society (which celebrated its own 75th anniversary last season) where they have long been regular guests — in recent years, performing with Marc-André Hamelin and in a memorable Grieg/Shostakovich program.
Cleveland Orchestra Franz Welser-Möst, conductor Daniil Trifonov, piano Mandel Concert Hall Severance Music Center Cleveland, OH October 9, 2025
Prokofiev: Symphony No. 7 in C-sharp minor, Op. 131 Brahms: Piano Concerto No. 2 in B-flat major, Op. 83
Encore: Prokofiev: No. 20 from Visions fugitives, Op. 22
I’ve been intrigued by Franz Welser-Möst’s endeavor to perform and record all seven of the Prokofiev symphonies with The Cleveland Orchestra. After some eight years, that cycle came to fruition this weekend with the enigmatic Seventh Symphony, the last major work the composer completed. Only the First and Fifth of these symphonies are performed with any regularity, so it’s been a welcome opportunity to discover the rest — though the quality can be uneven.
Daniil Trifonov performs Brahms with The Cleveland Orchestra. Photos credit Human Artist / Yevhen Gulenko
Moderately-paced material opened the work in the unusual key of C-sharp minor (common in the piano literature, rare for the orchestra), somewhat mysterious in character in the way that composers’ late works often are. The lyricism was straightforward and unadorned, but what stood out were the striking instrumental combinations, spattered with liberal use of the glockenspiel. A scherzo followed with vestiges of a waltz. A bit spikier than the restrained opening, it was still generally reserved until the boisterous close.
In the Andante espressivo, one was reminded of the poignant lyricism in Prokofiev’s ballet scores, contrasted by the playful and rather sardonic finale. The composer revised the original quiet ending for a bombastic one in an attempt to better appease the Soviet authorities, but was to said to have preferred the original — a preference which Welser-Möst rightfully respected in these performances.
Having been educated at the Cleveland Institute of Music on the precipice of his meteoric rise, pianist Daniil Trifonov remains a local favorite. He served as a probing soloist in Brahms’ daunting Second Piano Concerto (a follow up to his performance of the First two seasons ago — so effectively, another cycle came to a close Thursday evening). An amber horn call opened to herald the gentle arpeggios that rolled across the keyboard. Right at the beginning there was a solo cadenza which put Trifonov’s bold sound and rich tone on full display. An impassioned performance, he conceived the spacious first movement in broad strokes, with piano and orchestra functioning as equal partners in a work that’s perhaps more symphony than concerto.
Though the two works on this program had little in common, they mirrored each other in terms of structure, so as with the Prokofiev, a scherzo followed ahead of the slow movement. Brahms’ was generally a sunny affair though not without discord, played with a driving intensity that was briefly abated during the gentler trio and a passage of ravishing lyricism. Principal cellist Mark Kosower opened the Andante with a gorgeous solo, also serving to give the pianist a momentary but well-earned rest. This slow movement made for a serene moment in an otherwise energetic work. And despite the weight and seriousness of the preceding, the closing movement was of joyous abandon.
As an encore, Trifonov fittingly returned to the composer that opened the evening in Prokofiev, namely the last of the Visions fugitives, a suite of twenty artfully crafted miniatures for piano (the pianist performs the whole set on his recital programs this season). A touching way to bring the evening full-circle.
Leif Ove Andsnes, piano Mandel Concert Hall Severance Music Center Cleveland, OH March 27, 2025
Grieg: Piano Sonata in E minor, Op. 7 Tveitt: Piano Sonata No. 29, Op. 129, Sonata etere Chopin: Preludes, Op. 28
Encore: Debussy: La cathédrale engloutie, from Préludes Book I
The first half of Leif Ove Andsnes’ Thursday night piano recital in Cleveland plunged into wholly unfamiliar territory in an exploration of the Norwegian piano sonata. The pianist proved to be an incisive guide to the music of his home country, beginning with the Piano Sonata in E minor from the pen of a 22-year-old Edvard Grieg.
Leif Ove Andsnes at Severance Hall
Brimming with youthful energy, the piece balanced both the lyrical and the dramatic. A slow movement was delicate in its simplicity, though it built in density and traversed some striking harmonic modulations. The sonata very much bore the influence of Schumann above all, but the brief third movement was quite original, showing the composer finding his individual voice. The finale capped off this attractive work with a bravura march.
The real rarity came in the Piano Sonata No. 29 of Geirr Tveitt. Like Grieg, Tveitt studied in Leipzig, but returned to Norway where he developed his unique style. He settled in an isolated area in Norway’s Hardanger region, though tragedy would strike when a fire in 1970 would destroy nearly 300 of his unpublished manuscripts, the majority of his body of work. The Sonata etere (“Ethereal Sonata”) is the only surviving piano sonata — astonishingly, number 29 out of an unknown quantity lost to the flames.
A startlingly original work, there are perhaps nods to Prokofiev or Bartók in its percussive gestures or the French impressionists in its coloristic writing, but one imagines the composer writing in isolation, free from outside influences. A large-scale, 35-minute conception, the first movement (titled In cerca di — “In search of”) was propelled forward with driving energy — and I found Andsnes even more compelling than the composer’s own recording.
The central Tono Etereo in Variazoni consisted of 19 variations, most strikingly featuring a cluster of notes depressed with the pianist’s entire left arm, an ethereal resonance that would recur throughout. Overtop this were spiky jabs in the right hand the drew out the skeleton of a theme on which the variations were based. The variations were largely lyrical, and with subtle yet captivating effects. The closing Tempo di Pulsazione was virtuosic and bracing, though not purely percussive with its lyrical interludes, in due course fading away into the ether.
Chopin’s magnificent set of 24 preludes comprised the second half. Andsnes gave each one of these gems loving attention to detail, bringing out their unique personalities and sharpening contrasts across the set. I was struck by the majestic take on #9 and the ferocious energy given to #12, only outdone by the chillingly dramatic closing prelude. I loved the way he deftly voiced the chords in #20, and the warmly poetic readings he gave to #13 and #17 were deeply rewarding.
Andsnes offered a single encore from another great cycle of preludes in Debussy’s Sunken Cathedral, painting a wondrous soundscape.
While several artists have justly announced boycotts of the US in response to the current political climate, upon his arrival in this country, Andsnes thoughtfully mused on the potential music has to bring people together. A further post saw him marveling at the beauty of the Severance Hall stage. The pianist certainly proved that a captivating performance in a gorgeous venue can offer much-needed solace.
Yuja Wang, piano Víkingur Ólafsson, piano Mandel Concert Hall Severance Music Center Cleveland, OH February 23, 2025
Berio: Wasserklavier (No. 3 from Six Encores) Schubert: Fantasie in F minor, D940 Cage: Experiences No. 1 Nancarrow: Study No. 6 (arr. Adès) Adams: Hallelujah Junction Pärt: Hymn to a Great City Rachmaninoff: Symphonic Dances, Op. 45
Encores: Brahms: Waltz in A-flat major, Op. 39 No. 15 Dvořák: Slavonic Dance in E minor, Op. 72 No. 2 Brahms: Hungarian Dance No. 1 in G minor Brahms: Waltz in E major, Op. 39 No. 2 Brahms: Waltz in G-sharp major, Op. 39 No. 3
Sunday afternoon marked a remarkable high point in The Cleveland Orchestra’s immensely rewarding recital series, with pianists Yuja Wang and Víkingur Ólafsson joining forces in a stop at Severance Hall on a brief US tour. Both superstar soloists in their own right, it was truly electrifying seeing these two band together. Yet this was more than just a celebrity pairing calculated to maximize box office receipts: their artistic temperaments complemented each other well, showing the whole can be greater than the sum of its parts.
Víkingur Ólafsson and Yuja Wang at Severance Hall, photos credit Human Artist Photography + Cinema
The program was ripe with discovery, skirting some of the more commonly played fare for two pianos. Luciano Berio’s Wasserklavier began, a meditative opening with liquescent textures freely flowing. The piece made subtle nods to Brahms and Schubert, and fittingly, the pianists artfully segued directly into the latter’s own Fantasie in F minor. Usually played four hands on a single piano, hearing it spread across two instruments gave the work a greater resonance and depth of sound.
Crisply articulated dotted rhythms began, plunging into penetrating drama — rarely will one hear Schubert played with such intensity. Dance-like sections contrasted, exuding joy with the twenty fingers at work, intricately choreographed. A fascinating selection of works from the late 20th-century followed, beginning with John Cage’s Experiences No. 1. The composer’s characteristic minimalist textures were piquantly harmonized, punctuated by silence.
The sixth of Conlon Nancarrow’s 49 studies for player piano followed, made humanly playable in its two-piano arrangement by Thomas Adès (who local concertgoers had the chance to see conduct a remarkable Cleveland Orchestra program just the night before). In this case, the two pianos seemed to be at odds with one another, yet the jagged rhythms fit together in interlocking fashion.
The first half closed with John Adams’ Hallelujah Junction, to my mind, the highlight of the program. Pulsating energy filled Severance Hall with pianistic brilliance. Music of almost perpetual motion — quite a contrast to the minimalism of Cage — gave a larger-than-life portrayal of the namesake town on the California-Nevada border, and demonstrated in no uncertain terms the electric chemistry between these two pianists. The more lyrical pulses of a downtempo section captivated in their rhythmic intricacies, only to build back up to a dazzling density of sound.
Arvo Pärt’s Hymn to a Great City was marked by Wang’s playing in the upper register that rang with the purity of bells, and some delicate filigree that decorated the otherwise barren textures. Rachmaninoff’s Symphonic Dances — his final work — closed the printed program. Hammering out the main theme with pile-driving intensity, an almost manic energy between the two created a rich orchestral sonority. Yet matters were still clear and articulate, with a contrasting theme of haunting lyrical beauty. Sultry waltz rhythms in the central dance were given with stylish playing, and the finale was bold and grandiose, with broad gestures cascading spectacularly.
No less than five encores followed, a delightful selection of dances by Brahms and Dvořák, performed on a single piano, four hands. A charming, convivial close to a memorable afternoon.
Cleveland Orchestra David Robertson, conductor Marc-André Hamelin, piano Mandel Concert Hall Severance Music Center Cleveland, OH November 29, 2024
Copland: Suite from Appalachian Spring (1945 orchestration) Gershwin: Rhapsody in Blue (arr. Grofé) Ellington: New World A-Comin’ Copland: Suite from The Tender Land
Over the Thanksgiving weekend, The Cleveland Orchestra and guest conductor David Roberston served up a rich course of American orchestral music. As the centerpiece was a pair of works for piano and orchestra with virtuoso Marc-André Hamelin, both of which artfully brought jazz and popular traditions into the concert hall.
Marc-André Hamelin, David Robertson, and The Cleveland Orchestra perform Rhapsody in Blue. Photos credit Extraordinaire Photos
This year marks the centennial of Gershwin’s epochal Rhapsody in Blue, and the evening’s performers offered an energetic and joyous performance fitting for such an anniversary. The work was presented in its original jazz band orchestration arranged by Ferde Grofé, as it would have been heard in its 1924 premiere at Carnegie Hall — and The Cleveland Orchestra morphed into a bona fide dance hall band.
The iconic wail of the clarinet opened the work, stylishly played by Daniel McKelway. A muted trumpet responded in its striking timbre, setting the stage for Hamelin’s commanding pianism, given with flair and virtuosity. In this amalgamation of the classical and the vernacular, the two resided not in opposition, but as a unified whole. A downtempo section was a sultry affair, while a passage of repeated notes conveyed the mechanistic fury of the Industrial Age, not unlike what one finds in Prokofiev at the same time. All cares were left aside though in the abandon of the foot-tapping finale.
Duke Ellington’s 1943 work New World A-Comin’ premiered under similar circumstances as the Gershwin: a Carnegie Hall performance that endeavored to break the confines of the traditional classical repertoire. Unlike Rhapsody in Blue, Ellington’s work was not initially well-received. Credit, then to Hamelin et al. for offering a compelling performance. A lushly-scored opening in the orchestra gave way to a quasi-improvisatory passage for piano, with silky filigree and silvery runs, colored by jazz-inflected harmonies. A drum kit onstage added to the rhythmic pulse. Comprised of alternating sections for orchestra and piano, it lacked the cohesion of the Gershwin, but proved an attractive discovery nonetheless. On the subject of jazz-influenced classical works, Hamelin’s 2008 album In a state of jazz is warmly recommended.
Bookending the concertante works was music of Aaron Copland, in both cases orchestral suites extracted from stage works. Appalachian Spring made for a lovely opening to the evening. Earthy harmonies began, brimming with hope and possibility. Robertson and the orchestra gently breathed life into this soft-spoken material, starkly different from the bustling Manhattan streetscape conveyed in Gershwin’s Rhapsody. More angular material was enhanced by the sheen of the brass, and rhythmic inflections conveyed a dance-like quality — this was, after all, originally a ballet. A magical moment saw the first appearance of the Simple gifts hymn, first in the winds and then blooming to its magnificent orchestration. The loveliest of epilogues concluded, wholly at peace.
Less well-known was the three movement suite from Copland’s opera The Tender Land, dating about a decade after Appalachian Spring. Strident, brassy beginnings retreated inward for a gentle love song. A specialist of the American repertoire, Robertson served as a keen guide in this deeply lyrical writing. A boisterous, raucous “Party Scene” took matters in a rather different direction, splashed by piquant touches from the xylophone. The closing “Promise of the Living” was a peaceful paean with a fine English horn solo, and a touching, topical close for the Thanksgiving program.
And for those who couldn’t make it to Severance Hall in person, Sunday’s performance was live-streamed and subsequently available on demand through Adella and Stage+.
In the this season’s final installment of Severance Music Center’s admirable recital series, two artists who exemplify their instruments came together for an intimate lieder recital: baritone Matthias Goerne and pianist Evgeny Kissin. On a side note, it’s lovely to see Kissin become a more regular presence in Cleveland following his return after a long absence – and he is on tap for next season’s recital series as well.
Evgeny Kissin and Matthias Goerne at Severance Music Center
The first half was devoted to Schumann’s epochal song cycle Dichterliebe. Sixteen songs go by in a flash as quicksilver vignettes, each occupying a rarefied state that we only get to visit for a fleeting moment. Goerne’s vocal command showed this to be a work firmly in his repertoire, and Kissin responded in kind with probing accompaniment. Though a month premature, the opening Im wunderschönen Monat Mai began matters gentle and longing, only to be upended by the subsequent Aus meinen Tränen sprießen which contrasted in its melancholy. The thunderous Im Rhein, im heiligen Strome was a standout, answered by the familiar Ich grolle nicht, given an exultant and impassioned reading, anchored by the pianist’s bass octaves. As the most extended song of the set, the closing Die alten, bösen Liederwas powerful and bracing, only to close with pensive postlude for piano alone.
The latter half gave Kissin a moment in the spotlight, opening with Brahms’ four Ballades for solo piano – and for this listener, the highlight of the afternoon. The first, nicknamed Edward after the eponymous Scottish poem, was a stately, almost royal, processional, building to a powerful climax – especially so for such a brief work. In the chordal passages, Kissin’s nuanced voicing yielded a wondrous effect. The second followed a similar trajectory, with gentle beginnings giving way an animated, march-like central section. The following ballade was rather more animated, inflected by Hungarian rhythms (a Brahms favorite), while the final piece was Schumannesque in its poetry, languorous and lyrical, rapturously beautiful under Kissin’s hands.
Lieder by Brahms filled out the balance of the program, a composer whose path used Schumann’s influence as a signpost to discover his own individual voice. Four settings of Heinrich Heine (the poet of Dichterliebe) were culled from opp. 85 and 96. The pair captured the sultry atmosphere of Sommerabend; the closing line “Schimmern in dem Mondenscheine” made for a seamless segue to Mondenschein wherein the luminous moonlight dispelled the darkness. Meerfahrt, by comparison, was a stormier affair.
The nine Lieder und Gesänge of opus 32 were given a deeply expressive reading, evident from the opening Wie rafft’ ich mich auf in der Nacht, further conveyed by the substantial piano accompaniment. Two distinct poets were traversed across the set (August von Platen and Georg Friedrich Daumer), making it not quite as cyclical and coherent as Dichterliebe, but arguably a work which probed greater range and variety. Wehe, so willst du mich wieder made for an emphatic midpoint ahead of the sorrowful Du sprichst, daß ich mich täuschte. Peace was found, however, in the closing Wie bist du, meine Königin, arriving at a blissful state not unlike where the recital began with Im wunderschönen Monat Mai.
The duo returned full circle to Schumann for the lone encore of the late song Mein Wagen rollet langsam, wherein gently flowing textures were countered by more urgent martial material.
Cleveland Orchestra Franz Welser-Möst, conductor Mandel Concert Hall Severance Music Center Cleveland, OH January 18, 2024
Prokofiev: Symphony No. 2 in D minor, Op. 40 Webern: Symphony, Op. 21 Prokofiev: Symphony No. 5 in B-flat major, Op. 100
Franz Welser-Möst is back in Cleveland to start the year off with two weeks of subscription concerts before taking the orchestra on tour to Carnegie Hall and Miami. The conductor seemed in robust form, his first local appearance since undergoing cancer treatment, as well as official confirmation that he will be stepping down as music director in 2027, following a remarkable quarter century in that capacity.
Welser-Möst conducts Prokofiev, photo credit Roger Mastroianni
Thursday’s program offered three works all bearing the title “symphony” and composed within the span of two decades, but each vastly different conceptions of the form. The evening was bookended by Prokofiev, beginning with the rarely-heard Second Symphony. The conductor has turned ample attention to Prokofiev in recent seasons, including traversals of the lesser-known symphonies, albeit with mixed results when the work is more curiosity than masterpiece – though I found the Second to be much more convincing than the Third or Fourth. It’s also worth nothing that the Second was last intended to be performed in March 2020, only to be the first of months of Covid cancellations.
The work opened blistering and uncompromising, in mechanistic fury – in the composer’s own words, music of “iron and steel.” A product of the 1920s, it embraced a celebration of industry that also gave inspiration to Varèse, Antheil, and Honegger, as well as Prokofiev’s own Scythian Suite. Rhythmic pulsating continued unabated with the industriousness of an assembly line, and Welser-Möst managed to find clarity amongst the busy textures. The work’s unusual structure has been compared to that of Beethoven’s final piano sonata: a stormy sonata-form opening movement, followed by an expansive set of variations. A flowing oboe melody (Frank Rosenwein) carved out the theme, a somber turn inward. Animated transformations of the theme followed, while the fourth variation served as the work’s only extended slow passage. The manic and frenetic came back in due course, and strikingly, the theme returned at the end in its unadulterated form, with hauntingly orchestrated final chords shrouded in mystery.
Anton Webern’s sole symphony follows a similar two movement form, but couldn’t be more different. The orchestra was reduced to modest, classically-sized proportions, and barren, almost emaciated textures. Conductor and orchestra gave the coloristic score a nuanced, exacting reading, with the composer’s distinctive Klangfarbenmelodie technique yielding a protean ebb and flow as gestures were passed throughout the ensemble.
Prokofiev’s masterpiece in the form, the Fifth, closed the program (which like the Second, has also been recently recorded by these forces). The orchestra again swelled to the brim of the stage, and articulated a broad opening statement in which one felt the voice of a man with newfound energy and confidence. Welser-Möst emphasized the grand sweep of the movement, pointing towards a triumphant, blazing finale. The Allegro marcato had mechanistic echoes of the earlier symphony, highlighted by the shrill clarinet of Afendi Yusuf as well as prominent piano. With its militant snares, this is to my ears the closest Prokofiev came to sounding like his Soviet compatriot Shostakovich.
The brooding triple meter of the Adagio wouldn’t have sounded out of place in Romeo and Juliet which dates from a similar time, while the angular main melody of the finale had a distinctly Soviet feel. Welser-Möst was keen not to hit the listeners all at once by way of a slow, carefully-judged buildup in potency, leading to the pile-driving intensity of the work’s final statement. This weekend’s Carnegie Hall audiences certainly have an invigorating listen in store.
Cleveland Orchestra Pietari Inkinen, conductor Augstin Hadelich, violin Mandel Concert Hall Severance Music Center Cleveland, OH November 24, 2023
Dvořák: Othello Overture, Op. 93 Tchaikovsky: Violin Concerto in D major, Op. 35 Encore: Forrester: Wild Fiddler’s Rag Dvořák: Symphony No. 8 in G major, Op. 88
The Thanksgiving weekend saw the Finnish conductor Pietari Inkinen make his Cleveland Orchestra debut in a program of works all composed within just over a decade and from the heart of Eastern Europe. Dvořák’s Othello Overture opened, conceived as the final entry of a trilogy of related overtures. Written just four years after Verdi’s landmark opera on the same subject, Dvořák likely drew inspiration from the Italian he greatly admired, though his overture tended to suggest the essence of the Shakespearean source material rather than spell out a specific narrative.
Pietari Inkinen, photo credit pietariinkinen.com
Slow and somber introductory material built to music of great drama. It seemed that Inkinen could have benefited from some additional rehearsal time with a handful of uncoordinated entrances, but an effective performance was managed nonetheless. The slow material returned at the end, with stentorian brass strikingly invoking the slumber motif from Wagner’s Die Walküre as something of a final prayer before the unequivocally tragic end. So much of the time Dvořák is programmed we hear one of the last few symphonies (or the cello concerto), but this overture was a welcome discovery, and should certainly encourage listens to look at Dvořák’s orchestral corpus beyond the warhorses.
The balance of the program, however, was dedicated to warhorses – and in no way a detriment! Tchaikovsky’s evergreen Violin Concerto called upon soloist Augustin Hadelich. A gentle dip set things in motion in this most graceful of openings, with Hadelich’s solo line articulate, keenly phrased, and above all, richly lyrical. Nimble and nuanced, he displayed some especially impressive fingerwork in the cadenza. A choir of winds opened the central Canzonetta, and the songful, mournful violin purveyed a delicate cantilena. The finale is such joyous affair for someone who lived such a tragic life as its composer, and Hadelich’s sprightly virtuosity closed the work in the highest spirits. He returned for a well-deserved encore, his own arrangement of Howdy Forrester’s Wild Fiddler’s Rag – a piece of great fun with its bluesy inflections.
Franz Welser-Möst set the bar high for Dvořák’s Eighth Symphony two seasons ago; while Inkinen didn’t quite reach that height, it was here he made the strongest impression – and opted to conduct this score from memory. The deeply lyrical opening gesture gave way in due course to material of an inimitable Bohemian charm, aided by fine solo passages from the principal winds. Still, greater dynamic contrast would have helped, with conductor leaning a bit too heavily in the orchestra’s upper end of the range.
A bucolic slow movement built to a resonant climax, and the lovely Allegretto grazioso was flowing and deftly shaped, though a tad rushed for my taste. The call to arms in the trumpet initiated the energetic and often boisterous finale, nearly overflowing with gracious material that never strayed far from the composer’s Czech origins. On a final note, how gratifying it was to see nearly every seat of Severance Hall filled, and with such a warm, enthusiastic audience.
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