When I found out I could hear live classical music and drink a beer and not get up “really early” on Sunday morning, I was totally in. Club Beethoven is the afternoon version of Church of Beethoven, the long-running Sunday morning event featuring classical music and a bit of spoken performance, usually poetry. The Club is held at Casablanca, inside the Hotel Andaluz. You can enter the spot directly from a door on Second Street.
At 4:30, host David Felberg stepped onto the stage. He began by saying Mozart would have played in a situation like this: people hanging out, having some drinks, enjoying each other’s company. Everyone laughed and cheered and raised their glasses. As the other musicians—oboist Melissa Peña, violinist Gabriel Gordon and cellist Dana Winograd—took their places for Mozart’s “Oboe Quartet in F Major,” I noticed how rowdy the noise in the place was. Conversations from across the room rose above the din of clanging dishware. It was definitely not a Sunday morning chamber music vibe.
He began by saying Mozart would have played in a situation like this: people hanging out, having some drinks, enjoying each other’s company
The musicians—including Felberg on viola—were crisp, relaxed and even smiling. They seemed to relish working together as a tight ensemble. When the piece ended, the audience burst into cacophonous applause and talking—as if they were burning pent-up energy generated by the music.
Next, Carson Keeble explained the music he was about to play— Keren” ffor solo trombone—and gave a little history on its author, Iannis Xenakis. The number was weird and arrhythmic. It was about the opposite of anything I came in expecting, but it was cool. The audience bent forward slightly, in suspense of what sound might come next. In that moment, I wished all my friends were there too.
Whatever preconceived notions of classical music you have, Club Beethoven is wont to change it.
After intermission—about 20 minutes of more raucous chatter and drink ordering—came the highlight for me. Felberg played The Red Violin Caprices,” derived from music created by John Corigliano for the film The Red Violin. The technical operator took all the lights to red, leaving Felberg to tear through the challenging piece like a frenzied, blood-hued maniac—he played like he was on fire and the lighting gave the illusion that he was. The audience shouted and whooped appreciatively.
The audience loved it too. Club Beethoven is a totally rewarding way to spend an hour and a half on Sunday afternoon. You’re likely to leave with a new appreciation for classical music, both familiar and not—even if you just came for the beer and air-conditioning.