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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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.