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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...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
CHAMBER REVIEW

The Stauffer Duo

STAUFFER DUO LAUNCHES SRJC SEASON WITH GENTLE CHARM

by Terry McNeill
Sunday, September 19, 2010

Old friends returned Sept. 19 as the Stauffer Duo, long associated with the Santa Rosa Junior College Chamber Series, return for their 30th anniversary recital in Newman Auditorium. It was the first of the season’s six concerts, with a lively 177 in attendance and the anticipation of a challenging program including two modern works and some solo pianism from a mostly unknown composer.

Currently emeritus professors at San Diego State University, cellist Thomas Stauffer and pianist Cynthia Darby have strong ties to the North Bay, as Mr. Stauffer was for many years with the Santa Rosa Symphony and Ms. Darby was born in Ukiah, studying with local teachers prior to matriculating to Boston.

Mr. Stauffer’s cello playing is studied and professional but difficult for a listener to easily approach. This was initially evident in the opening work, Beethoven’s G Minor Sonata, Op. 5, No. 2. The performance was suave with fastidious attention to detail, the bowing often on open strings and understated in the long introductory section. The piano frequently covered the string line, making the cellist visible but not audible. But Beethoven wrote a virtuoso part for himself in the 1796 work, and more is frequently happening in the accompaniment than with the cello. The mixture of quick turns in the piano part in Rondo Allegro brought the composer’s humor to the forefront, the Duo’s attention to small effects telling.

Joan Tower’s slower than slow Tres Lent spotlighted Mr. Stauffer’s varied vibrato technique, and his ability to make the subtlety of pitch alteration grow and diminish. This is a work of lament, episodic for the cello with deft downward phrasing and small portimenti. I found it quite moving.

The first half ended with three rare solo piano works by Séverac, a composer that I don’t recall ever listed on a piano recital program. The inspiration was from the composer’s native Languedoc region of France, now known for its bourgeois wines but in the early 1900s a bucolic area of wild nature. Ms. Darby brought these outdoor sounds quickly to bear with elegant pianism. These pieces are not easily known, as each begins in a wandering way and following many lovely side ventures arrives at shimmering endings, soft arpeggios fading into treble-area iridescence. In their way and with Ms. Darby’s artistic fingers (and feet) they were captivating, but not altogether convincing.

The second part contained two works, a short Messiaen threnody for cello and piano and the big Brahms E Minor Sonata, Op. 38. Here the best and the least effective parts of Mr. Stauffer’s artistry were heard. The Messiaen is the fifth of the eight movement Quatuor Pour La Fin Du Temps, from 1941, titled “Praise to the Eternity of Jesus.” Here Mr. Stauffer was in his element, leaning into some notes, playing others without vibrato, juxtaposing some of the less-than-jarring dissonances in the piano and Ms. Darby’s exquisite control of diminuendo passages. The cello note at the end, over an ostinato passage in the piano, is a long fermata and worth every second of time. Long seconds indeed and wholly mesmerizing.

Brahms’ E Minor Sonata (Op. 38) concluded the printed program, a somber and mystical composition reflecting “homage to Bach” in three big movements, and finishing with a fugue and provocative modulation to G Major. Here I was expecting the piano to again cover the cello, but the balances were initially good and the noble opening theme sounded forth with fervent intensity. The warm second theme was underplayed by Mr. Stauffer, as throughout the recital he tended to need more sonic projection and instrumental passion. His style tends more towards a Fournier sound than one of DuPre, Rostropovich or the flamboyant Piatigorsky. It wasn’t a bass-heavy Brahms reading, the last Piu Presto coda of the Allegro finding the cello lost in the piano sound. Ms. Darby is an articulate pianist, clean and without score variance or inner voicing, but even her non-heroic Brahms sound easily veiled Mr. Stauffer’s elegant but small-scaled tones.

One encore was offered to a standing ovation, the long slow movement from Brahms’ F Major Sonata, Op. 99. Here again the performance of the Adagio Affettuoso was beguiling but not sonorous, the pizzicato exposition played with refinement and for once with heft.

Hosted by the Series Committee, a posh reception in the Bertolini Student Center followed the concert and honored retired SRJC faculty member Norma Brown.