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Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
CHAMBER REVIEW

I Solisti di Sonoma Playing Beethoven's Trio Jan. 14 in Healdsburg

I SOLISTI DI SONOMA BEGINS THREE-CONCERT SERIES TO BENEFIT APSC IN HEALDSBURG CHURCH

by Terry McNeill
Friday, January 14, 2011

Chamber music was launched in grand style for the 2011 year Jan. 14 when the American Philharmonic Sonoma County presented the first of three small group concerts featuring artists associated with the APSC.

Designed as a fund raiser to cover costs incurred from the historic tour to China, the concert at the Healdsburg Community Church preceded events at Santa Rosa’s Glaser Center and the charming Jacuzzi Family Vineyards in Sonoma. The performers, named “I Solisti di Sonoma,” donated their artistry and gave a small audience of 23 a rich program, albeit from ever-popular composers.

Beethoven’s Piano Trio in E-Flat Major, Op. 1, opened the program with pianist Marilyn Thompson’s pearly scales taking charge. The piece, from 1793, gets away from the keyboard-dominant trios of Haydn and Mozart and in the acoustically dead church space Margaret Moores’ cello carried all evening with a rich sonority. The long Allegro found violinist Pam Otsuka wrestling with pitch problems and a thin tone that settled down in the Adagio cantabile, highlighted by soft Alberti bass figures in the piano and ending in two lovely string pizzicato chords and two soft answering chords from Ms. Thompson.

The concluding lilting Scherzo and Presto finale unfolded smoothly, the Presto chords from the piano on the octave seeming to signal the quick tempo and instrumental interplay. Ensemble here was the best of the evening.

Prior to Schumann’s Adagio and Allegro for Cello and Piano, Op, 70, APSC Board Chair Brian Lloyd announced the dates of the forthcoming concerts and related stories of the historic APSC tour of China that ended Jan. 6. Mr. Lloyd, a cellist, then discussed the role of his instrument in the lives of the Schumanns and Brahms, and speculated that Brahms may have written (like Robert Schumann) a cello concerto, but destroyed it.

Ms. Moores (playing from score) and Ms. Thompson gave an ardent reading of the ten-minute Schumann work from 1849, a piece heard often with the French horn. Here again the cello carried well, the tempos judicious and the ritards in the Adagio broad and never breaking the musical line. The rondo form Allegro had lots of breathing room and the cellist lacked clarity and coordination with the piano only when fast articulation was needed on the fingerboard.

The program concluded with Brahms’ Sonata for Cello in E Minor, Op. 38, written in 1865. In the noble opening theme the low frequencies of the cello were opulent, sporadically overcoming the sound from a less-than-professional church piano. It’s not often that the cello outguns the piano and a virtuoso such as Ms. Thompson, and this imbalance also happened during the closing E Minor movement. The dance-like rhythms of the Allegretto quasi Menuetto were played with gusto, and during each movement Ms. Moores’ pitch was dead on, and the deep note in the cello ending the first movement was haunting.

Additional “I Solisti di Sonoma” concerts are planned for the spring season.