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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
California Summer Music / Sunday, July 05, 2009
Faculty Concert

Violist Sheila Browne

SSU WORKSHOP FACULTY SHINES IN UNFAMILIAR WORKS

by Terry McNeill
Sunday, July 05, 2009

California Summer Music is a musician’s workshop, rotating between college campuses that put young players in small classes with masters of their respective instruments. Sonoma State University is hosting the 2009 event for three weeks in July, and the CSM faculty had a chance July 5 to show the troops how strings and a piano can sing, albeit with non-traditional compositions.

Before 125 avid listeners in the Fred Warren Auditorium, string and piano performers played a concert consisting of mostly unfamiliar music, and discovery was afoot. Beginning with the Theme and Variations movement from Mozart’s E Flat Divertimento (K. 563), violinist Wendy Sharp and violist Scott Woolweaver were joined by cellist Richard Andaya in launching an inventive set of four variations that never strayed far from the richly-hued theme. Written in 1788, the work is Mozart’s only published string trio. Ms. Sharp’s violin had considerable power, juxtaposing the stately and processional cello line.

Lili Boulanger’s “Nocturne and Cortege” followed, a short seven-page work written in 1914 and, given the title, played in a surprisingly festive mood. Violinist Robin Sharp and pianist Lori Lack gave the piece, perhaps the most performed of the Boulanger works, a lilting reading, the violin pitch dead on and the piano line continually supportive.

The first half closed with two intriguing pieces, both wonderfully played. University of Tennessee composer Kenneth Jacobs wrote his Concerto for Viola, “Approaching Northern Darkness,” for Sheila Browne, and here she played just the final movement from the long 47-minute work premiered in 2005. But it was a substantial chunk, titled “Bold Declaration,” and exhibited a pulsating power and rhythmic drive throughout. This is a big movement, and Browne mastered the multiple double stops and eerie top register of her instrument with aplomb, as did pianist Julie Nishimura. The long romantic line was sustained, the lower-register viola segments contrasting with the piano’s syncopated rhythms. Browne has just recorded the entire concerto on a Zyode CD.

Following the Jacobs was daunting, and some frolic was in order, provided exuberantly by violinist Wendy Sharp and pianist Nishimura in Paul Schoenfeld’s “Four Souvenirs.” Schoenfeld’s 12-minute work cobbles together music depicting a samba, tango, Tin Pan Alley tunes and a rollicking square dance. His sensuous tango was especially effective, the tune from “Autumn Leaves” poking out and leading to the jazziest of the set, the fast square dance. Little bursts of sforzandos, played stylishly by Nishimura, were a relief of sorts from the 1920s swing melody of the Tin Pan Alley movement. The music is intricate and was deftly played, the audience seeming charmed.

Following intermission, cellist Irene Sharp, accompanied by Nishmura, played Poulenc’s 1948 Cello Sonata. The opening Allegro tempo di Marcia got off to a rocky start as Sharp had severe pitch problems, particularly in fast passages where she couldn’t find a tonal center, and her portamento was unconvincing and muddy. Things settled down in the calm and lyric Cavatine, played with just the right amount of muted sadness. The pianissimo ending was lovely. A Parisian dance hall mood characterized the Ballabile third movement, the playing finally secure, and leading to the concluding Largo-Presto finale that began with crashing forte chords from the pianist. It’s a sectional movement, pesky to keep together, with some phrases from Sharp sounding at first too tentative and then in sets of repeated chords refined and distinctive. She is an experienced cellist but eschews a virtuoso’s approach.

Virtuoso music closed the program as Santa Clara University pianist Hans Boepple played just the final section, the “Tanatella”, from the Venezia e Napoli supplement to Vol. II of Liszt’s Anées de Pèlerinage. Famous for the technical demands of fast repeated notes and demonic chord passages, the piece frequently appears as an encore at piano recitals but was an odd choice here, given the nature and freshness of the preceding music. Boepple showed good technical command and added many intriguing ritards, allowing discrete voice leadings. Apart from a brief memory lapse and a lack of the last ounce of orchestral brilliance, his playing was effective and drew the evening’s most prolonged applause.

No encores were offered by any of the musicians, appropriate for an event which showcased faculty at the beginning of a rigorous schedule of workshops for youthful musicians.