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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
CHAMBER REVIEW
SRJC Chamber Concerts / Friday, January 08, 2010
Steven Isserlis, cello, and Kirill Gerstein, piano

Steven Isserlis

STIRRED, NOT SHAKEN

by Steve Osborn
Friday, January 08, 2010


In a 1778 letter to his father, Mozart observed, “It is far easier to play a thing quickly than slowly.” The truth of Mozart’s observation has been borne out repeatedly in the intervening centuries, as virtuosos of all stripes have sought to dazzle their audiences with high-speed prestidigitation, often at the expense of musical beauty.

Not so with cellist Steven Isserlis and pianist Kirill Gerstein, who bewitched a capacity crowd at Santa Rosa’s Newman Auditorium Jan. 8 with a recital dominated by slow playing of maximum expressiveness. To be sure, the two of them often made their fingers fly through the air with the greatest of ease, but what sticks in the mind are their languid strolls through the musical landscape, with repeated stops to smell the roses.

The concert was much anticipated in Santa Rosa, where the memory of Isserlis still lingers several decades after his first concerts here, near the beginning of his storied career. “I have to report a rather ghastly fact,” he told the audience during one of his witty introductions. “The first time I played in Santa Rosa, Kirill had not yet been born.”

Now 51, Isserlis still sports a mop of curly shoulder-length hair that he flings to and fro with reckless abandon. In contrast, the 30-year-old Gerstein is crew cut, and his movements on the piano bench are relatively confined.

This clash of styles and appearance was on full display in the opening piece, the Cello Sonata in C by Benjamin Britten. Protectively enfolding his Stradivarius, Isserlis alternately gazed up in the air to his left or glanced at a score on his right, often flinging his mane while in transit. Meanwhile, his left foot floated up and down, following the center of gravity.

The sound that emerged from all this rocking and swaying was of the utmost delicacy, rendered ever so much more so by Isserlis’s use of gut strings. Instead of the jagged edges of their modern, metallic counterparts, which often make cellos sound like a swarm of bees, gut strings produce a rounded, soothing tone, more akin to a purring cat.

Gerstein contributed to the delicacy by barely grazing the keys of the piano and keeping himself firmly in the background. The net effect of all this quietude was a heightened concentration from the audience, which listened to the two musicians in rapt silence.

The Britten — which most of the audience had probably never heard — proved to be a captivating sonata that makes full use of the cello’s sonic possibilities. There were plenty of ringing pizzicatos, slithering glissandos and spiccato bowings. The real standout, however, was the central movement, marked “Elegia: Lento,” where Isserlis milked each note to its full potential. The tone on his low C string was absolutely gorgeous.

A slow third movement, an Intermezzo, was also the highlight of the next piece, Isserlis’ own transcription of a neglected Schumann violin sonata. The sonata has a long and curious history, well told by Isserlis in the program notes. Suffice to say that the transcription sounds great on a cello, provided it’s played by someone who’s able to traverse the cello’s long fingerboard as if it were a violin’s.

Isserlis proved fully capable of playing his cello like a violin, but all the virtuosic display was mere prelude to the heart-wrenching third movement, which Isserlis sang to perfection. All the musical elements of Schumann’s greatest songs were here, except for the lyrics, which would have been superfluous in any event.

Gerstein was primarily in the shadows during both the Britten and Schumann sonatas, but the Rachmaninoff sonata, which occupied the second half, was a different story. Rather than “cello sonata,” the work might be more accurately termed “concerto for piano with one-person cello orchestra.” Or better yet, “Russian novel for two players.”

One could never accuse Rachmaninoff of brevity, and this sonata, with its meandering rivers of sound, can overmaster all but the most cogent performers. Fortunately, both Isserlis and Gerstein proved up to the task, imparting a rhythmic force and narrative drive that sustained the work from its opening cascades of notes to its majestic ending some forty minutes later.

Gerstein, who just won the coveted $300,000 Gilmore Artist Award, proved particularly adept at dynamics, leading off the sonata with a stunning decrescendo that moved from fortissimo to pianissimo in the flicker of an eyelash. Isserlis was great throughout, but once again his most memorable playing occurred in the slow third movement, where he savored the quality of each note, bright glimmers of warmth in a stark Russian landscape.

The instantaneous standing ovation produced but one encore: Fauré’s “Sicilienne,” a suitably languid piece that calmed the audience. When it was over, Isserlis held his cello upside down to prove that he had poured every last note out of it, at least for this memorable concert.