The Oberlin Review

Oberlin Orchestra Makes Brilliant Comeback

Gabriel Kanengiser, Staff Writer

November 9, 2012

The Oberlin Orchestra returned to Finney Chapel in full form for its second concert of the season on Friday, Nov. 2 — performing works by Jacques Ibert, Peter Schickele and Claude Debussy. The playful program began with Ibert’s “Escales” (Ports of Call) in which the orchestra delightfully performed romanticized melodies portraying Rome and Palermo, Italy, Northern Africa and Valencia, Spain. In the first movement, solemn nostalgia and sweet memories of the Palermo country juxtaposed with the lively, festive, Roman urbanity. At times, the orchestra sounded like a soundtrack for the life of Vito Corleone in The Godfather Part II, alternating between eerie dissonances and sweeping ostinati. The second and third...

Oberlin Orchestra Renews Interest in Classical Music

Gabriel Kanengiser

September 28, 2012

A few years ago, I was listening to Los Angeles’s local classical music radio station, KUSC, with my grandfather and my brother on our way to lunch. After Beethoven’s Seventh Symphony, followed by Mahler’s First Symphony, my grandfather began to ask us if we listened to any “new classical” music. At the time, I didn’t. My grandfather said that he was very confused about the status of classical music communicated by the radio station. There simply wasn’t enough diversity, and he made an interesting point: Why did the DJs play only the canonical composers? You know, Beethoven, Mozart, Haydn, Brahms, Bach, Tchaikovsky, Mahler, etc. That is not to say that listeners do not like these composers; their genius...

Oberlin Orchestra Fresher and More Polished than Ever

Meghan Farnsworth, Staff Writer

October 7, 2011

Under the direction of Raphael Jimenez, the orchestra presented a program featuring Silvestre Revueltas’s Sensemayáand Dmitri Shostakovich’s Cello Concerto No. 2 and Symphony No. 9. Sensemaya?, the first piece on the program, begins with the deep, bottomless richness of the bass clarinet pulsating with sixteenth notes. After a few measures, a bassoon enters with an air of contrast to and friction with the bass clarinet’s drive. The rest of the work demonstrates swift changes in rhythm and, if articulated correctly, conveys an aura of ominous mystery and wonder, which progresses toward the piece’s culmination. This requires a solid sense of meter, and the orchestra’s ability to elicit this lethargic fe...

Established 1874.