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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High Schoolís stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
CHAMBER REVIEW

Vilnius String Quartet

THE LITHUANIANS HAVE LANDED

by Steve Osborn
Saturday, January 19, 2008

Between Beethoven and Brahms lurks--Onute Narbutaite. At least that's the version of music history proposed by the Vilnius String Quartet at their sold-out concert in the Occidental Community Church on Jan. 19. One hears Beethoven and Brahms all the time, but Narbutaite--a contemporary female Lithuanian composer--is a rarity in American concert halls. If the performance by her fellow Lithuanians is any indication, she deserves more frequent hearing.

Born in 1956, Narbutaite began composing as a teenager. She attended the Lithuanian State Conservatory and has made her living as a freelance composer in Vilnius, the Lithuanian capital, since 1982. "Open the Gates of Oblivion," performed to near-perfection by the Vilnius Quartet, comes from early in her career, when she was identified with a group of "neo-romantic" composers in Lithuania and elsewhere. Forsaking both serialism and minimalism, "Open the Gates of Oblivion" focuses on tone, atmosphere, and contemplation.

The one-movement, 15-minute work begins with a plucking cello, followed by high notes from the first violin, glissandos from the second, and a drone note from the viola. Having established distinct roles for each instrument, the work evolves slowly, driven by subtle changes in the viola drone. Each modulation reveals a new sonic figure, more like a painting or sculpture than a musical narrative. Within each figure, the music goes around and around, its motion primarily circular rather than linear.

And what music it was! The Vilnius played Narbutaite's score with passion, understanding, and finesse. From the cello's resonant opening notes, to the viola's steady beat, to the piercing tones and eerie slides from the violins, every aspect of the performance was well controlled and detailed. The only flaw was outside the musicians' control: one of the violist's strings broke during a particularly intense section near the end of the piece, and he had to rush from the stage in search of another. Upon his return, the quartet plunged right back in where they had left off, instantly regaining their musical intensity.

In a world of sound-alike quartets, it's a rare treat to hear contemporary works played by musicians who actually know the composer and can work with him or her to refine the performance. For the other two works on the program, however, the Vilnius reverted to the more typical mode of interpreting the composers of the past, none of whom can speak from the grave. They succeeded brilliantly with Beethoven, but their Brahms left something to be desired.

Beethoven's third quartet, which opened the evening, is an utter delight, and the Vilnius clearly enjoyed performing it. One imagines they have done so many times before. Founded in 1965, the quartet still retains its original first violinist, Audrone Vainiunaite, daughter of a Lithuanian composer. The other members, all men, are more recent arrivals, but they played as if they had all been together since Day One.

The opening movement of the Beethoven was luxuriant and unhurried, with rhythmic flexibility. Vainunaite's piercing tone was well suited to her virtuosic part, and the other instruments provided both solidity and depth. The inner voices were particularly distinctive in the lush second movement, which provides each instrument with a share of the limelight. The real fireworks, however, came in the last movement, with its strong accents and blistering pace. Despite a few intonation problems from Vainunaite, the effect was mesmerizing. There was real excitement in the dynamic contrasts, and the rollicking tempo made one want to dance. At the conclusion, several audience members stood to applaud, a custom usually reserved for the concluding work of the night.

After the Narbutaite and a lengthy intermission, the Vilnius returned to the stage to perform Brahms' second quartet, in A minor. For whatever reason, their previous intensity was lacking, and their performance was somewhat muddled. Unlike Beethoven, Brahms is not particularly well known for his string quartets, of which he published only three after destroying many failed efforts. One of the reasons for Brahms's own misgivings about his quartets may be related to his blending of the instruments, which is more orchestral than chamber. Unlike Beethoven, he fails to give each instrument a distinctive voice, and the textures tend to get murky.

The challenge in performing Brahms's string quartets is to pull the themes out of the dense thicket of sound. Although the Vilnius made a valiant effort, Vainunaite's tone and vibrato weren't quite up to the task. The notes were all there, but the certitude and clarity were lacking. Nonetheless, the audience responded with warm applause.

The concert concluded with a sparkling encore, a tarantella by the 20th-century Czech composer Erwin Schulhoff, whose music is finally coming into its own after years of obscurity. Leaving the gravitas of Brahms far behind, the Vilnius performed the tarantella, a swirling southern Italian dance, with vigor and grace. Their final standing ovation was well deserved.