Recently, I took some time to lean into the healing properties of sound—not just any sound, but orchestrated ones. The Cleveland Orchestra (TCO) is one of the top institutions in the world of music. Known as part of the “Big 5”—alongside the New York Philharmonic, Boston Symphony Orchestra, Philadelphia Orchestra, and Chicago Symphony Orchestra—TCO is a true gem. Every visit leaves me glad I came. It had been nearly a year since my last visit, when I saw Kanneh-Mason play Schumann, but this time I brought some friends along to share the experience.
As I sat in Severance Hall, I was reminded of how special it is to not just hear music but to witness the people behind the instruments—the ones bringing the sounds to life. Watching the anticipation of each section seconds before the conductor gives the green light to proceed is something magical. Seeing the bows lift, the hands hover, and then the notes rise with your ears in mind—👩🏽🍳 chef’s kiss!
I often wonder if the musicians’ movements make you hear the notes differently. I think they do. Their sway makes it multi-sensory in a way that adds a little swag to the staff. My favorite part of any selection is when the dynamics shift—that moment when the music goes from super loud to whisper-quiet, or vice versa. Cause How? The ability to control notes with the mere speed of breath is a beautiful skill. It’s what creates the drama, gets the people going, and emphasizes the storytelling that composers weave into their symphonies.
And those stories? They say a lot. Within a single piece, you can feel flow and frustration, tranquility and tension, beauty and buck. In this concert, An American in Paris, conducted by Stéphane Denève, we journeyed through a four-piece set blending French and American influences. (Check out the full concert overview here.) Hearing these pieces live and in person settled my soul in a way no recording ever could. And I think Stephen Banks might agree.
Stephen Banks was the featured saxophone soloist, performing A Kind of Trane by Guillaume Connesson, which celebrates its 10th anniversary this year. Banks, a Cleveland Institute of Music graduate, has a favorite practice room tucked within the Walker & Weeks-designed Severance Hall. It felt poetic to watch him perform in a space where he exudes comfort in his craft.
Since its opening in 1931, Severance Hall has hosted countless musicians, yet every artist brings something uniquely their own. Banks embodied the Cleveland Orchestra’s mission to enrich lives with extraordinary musical experiences. As a former flute and piano player myself, I deeply admire the dedication it takes to reach this level. It’s clear that Banks has practiced—and is still practicing. In fact, this performance felt like a warm-up for what’s to come.
A quick dive into his work reveals his talent and ambition: composer, performer, award winner, artist-in-residence, professor. His bio states that he’s “striving to bring his instrument to the heart of the classical music world. He is driven to program and write music that directly addresses aspects of the human experience and is an active and intentional supporter of diverse voices in the future of concert music.”
I’m here for it—and I was there to experience it. After a few encores for the Coltrane-inspired piece, Banks played a breathtaking rendition of The Lord’s Prayer. This was my FeelSpace moment of the evening—it was golden! So much of our, well, my musical life is detached from the actual musicians behind the melodies. I stream songs with the press of a button, forgetting that every melody began somewhere—with a soft blow, a pluck of a string, a beat of a drum, or even an accidental folly. Seeing the press of the keys in person adds a deeper level of appreciation, and an orchestra visit reminds you of this in the most inspiring way. It was also a reminder that people bring space and architecture to life. Severance Hall, in all its design and construction glory, is made whole on performance nights. Its beauty shines brightest when activated by music and musicians—the acoustics and the applause, the prestige and the performers.
What an experience. You’ve got to try it sometime.
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