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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Sunday, January 15, 2012
Alexander Barantschik, violin; Robin Sutherland, piano

Violinist Alexander Barantschik

BARANTSCHIK AND FUKUHARA IN GLOWING FOUR SONATA NEWMAN RECITAL

by Terry McNeill
Sunday, January 15, 2012

The program for Alexander Barantschik’s violin recital Jan. 15 in Newman Auditorium was not at first glance auspicious. And not because of the merits of the four sonatas, as all are masterpieces of the standard repertoire. The critical quandary was that the program was so conventional, the pieces comfortable for the artist, who as the San Francisco Symphony Concertmaster presumably has minimal practice time in less-often-played repertoire. Sonatas by Elgar, Faure, Respighi, Dohnanyi, Paderewski, Strauss, Rubinstein, Busoni, Reger and St. Saens would have been welcome for a Sonoma County audience.

And lowering the bar for an orthodox music menu, Mr. Barantschik’s partner in the San Francisco Symphony, Robin Sutherland, was unable to play and on short notice Akimi Fukuhara replaced him at the piano, flying in from Japan.

All this in hand, how was the playing in what was offered? Very fine indeed, beginning with Beethoven’s first Sonata in D Major, Op. 12, No. 1. Playing from score as he did all afternoon (understandable given a new pianist), Mr. Barantschik’s reading had a light touch throughout, echoed by the lovely and fast scales from his partner, her trills in both hands shimmering. A wider vibrato characterized the Andante con Moto second movement, still with a chaste tone. The tempos were brisk in the finale with Ms. Fukuhara pushing the pace and underlining subtle off-beat dissonances. Mr. Barantschik carefully controlled the final short chords, eliminating vibrato on several and then deftly adding it at the penultimate three.

Brahms’ G Major Sonata, Op. 78, closed the first half and began in a stately, almost leisurely way. It was a performance under the violinist’s complete bow control, and perhaps on balance a little understated. Mr. Barantschik’s tone could be slightly dry at times, particularly in fast passages close to the bridge, but always rich in the lower registers. Ms. Fukuhara chose not to emphasize a sonorous bass at the movement’s end, producing a muted sound, but Mr. Barantschik preceded his final two chords with old fashioned appoggiaturas. A lovely conceit.

The following Adagio unfolded with great charm, the highlight being a threnody line for the violin romantically played over a soft ostinato piano part. The concluding Allegro molto brings back themes from the first two movements and Mr. Barantschik wove them into a rich Brahmsian fabric that was both tender and contented.

Following a long intermission the audience returned for two more expertly-played sonatas, Mozart’s E Minor (K. 304) and the great Franck in A Major. The two-movement Mozart work, a Parisian sonata from 1778, was performed with an elegant interplay of voices. The instrumental balances were good and only in a few isolated places the artists were not in sync. The piano sporadically covered the violin line in the Tempo di menuetto in this Beethovenesque work, but careful legato and even chord playing from the duo produced musical optimism (when in E Major) from the prevailing sad tone of the entire piece.

Franck’s Sonata was admired by his contemporaries and has been a staple for virtuosos since the Ysaÿe premiere in 1886. Mr. Barantschik phrased the graceful opening movement with great care and Ms. Fukuhara’s piano part had larger sonority and impact than in the previous works. The reverse characterized the fiery and turbulent Allegro, Ms. Fukuhara’s scales quicksilver but lacking needed heft in the bass, and the violinist’s thematic projection potent in his top range. In the improvisatory Recitativo the music soared, the playing the finest of the concert. Mr. Barantschik held the fermata at the end, a captivating effect.

This richness of the duet continued in the canonic finale (Allegretto), each instrument playing off the other with majesty, the bits of previous movement themes masterly interwoven and leading to an exalted ascending violin scale and piano run at the end. It was a fervent and committed Franck throughout.

A standing ovation from the audience of 190 erupted, and despite repeated curtain calls, there was no encore to extend what was arguably the best local violin recital since Mr. Barantschik's colleague, Nadia Tichman, played four years ago in Oakmont.