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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.