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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
Chamber
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
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
American Philharmonic, Sonoma County / Friday, January 14, 2011
"I Solisti di Sonoma": Marilyn Thompson, piano; Ross Ipsen, violin; Pam Otsuka, viola; Margaret Moores, cello

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.