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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
CHAMBER REVIEW

Alexander String Quartet

THE ALEXANDER SQ AT LAST PLAYS OAKMONT

by Terry McNeill
Thursday, May 13, 2010

For nearly 25 years the Alexander String Quartet has been the preeminent chamber music group in Northern California, but despite many invitations they have never appeared on the popular Oakmont Concert Series season. Schedule conflicts with the SRJC Chamber Series and the Quartet’s far-flung travel commitments were finally overcome May 13 when the esteemed foursome appeared on the Berger Auditorium stage before 225 chamber music aficionados.

In a concert dedicated to the memory of Lore Kahane, a beloved Oakmont resident who died May 11, the Alexander was joined by Marin pianist June Choi Oh in a program that was both novel and routine. Mozart’s early Quartet in F major, K. 168, began the festivities, a four-movement work the congenial Alexander can play in their sleep. The opening Allegro was a model of suave interplay, the bucolic themes deftly passing between instruments. In the following Andante the mood became somber, but never plodding, with Sandy Wilson’s cello lines highlighting a threnody during long stretches of pianissimo. A quick Viennese dance characterized the Menuetto with bursts of color from first violin Zakarias Grafilo, and a quick fugue, light in texture, finished the work. The unison strings were perfectly together, the sound not large but carrying well and dying out to a whisper.

Perhaps the most popular piano quintet, Schumann’s work in E-Flat Major, Op. 44, closed the first half in fine style. The big second theme of the opening Allegro Brillante came richly in a duet from violist Paul Yarbrough and Mr. Wilson, though in this Schumann work from 1843 the strings often double the piano part or fill in with isolated phrases. Ms. Oh is a fluent pianist without being a very demanding collaborator, and the many repeats of the theme become almost tiresome. But it is a heavenly theme, constantly embellished in the cello part. In the march-like second movement there was an elegant “question and answer” motif incorporating different rhythms that was effectively played, albeit with a raspy tone from Mr. Yarbrough. Often the pizzicato sections reflected music on “tiptoe” but with consummate delicacy. The Scherzo was played with controlled recklessness and drew some audience applause at the powerful ending, just one movement short of completion. That finale, Allegro man non troppo, found the viola sound back in the mix and just the proper amount of majesty in the country dance section leading to the coda. It was a high-level performance in every way but lacking for me the final bit of energy and abandon. A polished Schumann but slightly underplayed.

Elgar’s three-movement A Minor Quintet, Op. 84, closed the afternoon and proved to be a tough work to get one’s arms around. It’s richly inventive and develops mostly in an inexorable Brahmsian way, with orchestral power in the opening Moderato–Allegro. It’s a work that on the whole contains many segments, with some commonality in the serene sections of the Moderato and the fetching Adagio. The Alexander drove the long first movement urgently, at times covering the piano part and making the most of unison sections and at the end a drawn out and tranquil diminuendo.

Rich romanticism pervaded the second movement, which the Quintet seemed to perceive as an homage (to British WW I dead? to the demise of the Edwardian era?). Their playing over many convoluted but deceptive cadences was captivating, the final release a wistful cessation of sound. Violinist Frederick Lifsitz's subtle discovery of inner voices in the movement was telling. The finale began with what sounded like a quote from the Moderato and moved into nervous animation and prismatic modulations. Ms. Oh’s fast running right-hand figures and sweeping arpeggios added sonic sparkle and the choral-like section was played by the entire group with careful control of the complex rhythms.

On balance, the Elgar was for me the afternoon’s most effective work, but in an odd way, as few could leave the hall humming tunes as with the Schumann Quintet. I suspect the Alexander and Ms. Oh lavished rehearsal time on this lush but intricate work, to a felicitous end.