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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...
REVIEW

Dawn Harms, Anna Kruger, Thalia Moore and Roxanne Michaelian at Oakmont

INSTRUMENTAL EQUALITY IN JAN. 14 OAKMONT CONCERT

by Terry McNeill
Thursday, January 14, 2010

Innovative but not necessarily exciting programming characterized the Kirkwood Piano Quartet’s Jan. 14 performance in Oakmont’s Berger Auditorium.

Unfamiliar works were perhaps the reason for an audience count far less than the usual Oakmont Concerts Series event, and the Kirkwood played a first half of rarely-heard music: Bridge’s one-movement “Phantasy” and a Stanford Quartet in F Major, Op. 15. The dreamy Bridge, from 1911, has many contrasting sections with echoes of late Faure. The playing was lovely, idiomatic and made the most of the subtle duos of viola and cello. The textures were homogeneous, right up to the deft arpeggios from pianist Roxanne Michaelian at the conclusion.

Charles Villiers Stanford is remembered mostly for choral works, though Oakmont resident and Stanford expert Harry Fry reminds associates that the English composers of the Victorian era were successful in other genres. The 1879 Quartet featured harmonies reminiscent of Brahms and Rubinstein, and the bucolic opening allegro con brio was richly played, the themes traded with clarity between violinist Dawn Harms and cellist Thalia Moore. Ms. Harms’ tone can be thin at the top, but Ms. Moore has an exceptionally sonorous bottom register, spacious and frequently doing the voice leading chores. This was especially apparent in the long and lush adagio movement, the Kirkwood catching the majesty of the writing with hints of Elgar. The concluding allegro was spirited, Brahmsian in the lower registers, the piano never covering the other instruments.

It was a fluent if not a particularly powerful reading, and the music must have been novel for just about everyone in Berger. Not so for the familiar Quartet in E-Flat Major, Op. 47, of Schumann, that closed the program. Here all was in place and the Kirkwood’s interest in a blended instrumental texture foremost. Tempos seemed right throughout and the famous andante cantabile saw each player having a chance at the nostalgic and opulent main theme. Mid way through this glowing and vocal movement violist Anna Kruger took up the theme with Ms. Moore in a poignant melodic statement, every note expressive.

Without pause the finale began, quick fugal-like sections ending quickly. Here again the Kirkwood favored equality of sound over fervor, the reading fluent and beautiful without ever raising the audience’s temperature. There was no encore.