Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
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 REVIEW
Deep Valley Chamber Music / Saturday, February 04, 2012
Elena Casanova, piano; Joel Cohen, cello; Roy Malan, violin and Philip Santos, violin, Elizabeth Prior, viola

Cellit Joel Cohen

CAPTIVATING DOHNANYI AND ELGAR IN UKIAH'S DEEP VALLEY CHAMBER CONCERT

by Terry McNeill
Saturday, February 04, 2012

If the nearly 300 people at a Feb. 4 Ukiah concert are an indication, the Deep Valley Chamber Music series has finally arrived. One of the best-kept secrets in North Coast music, Deep Valley has been presenting increasingly challenging repertoire and first-cabin musicians since 2008, and the ďMidwinterĒconcert in First Presbyterian Church was provocative and ultimately satisfying.

Provocative? Chamber music by Dohnanyi (his Serenade for String Trio) and Elgar (his A Minor Piano Quintet) are rarely-played items, and the Brahms Cello Sonata wasnít one of the usual two, but a transcription for cello of his first Violin Sonata in G. Redwood Valley cellist Joel Cohen and Ukiah pianist Elena Casanova began with the Brahms, always curious because the so familiar and rich-hued themes have to take on the celloís resonance and the lower (darker) pitch. Recent hearings of the work, by violinist Alexander Barantshik in Santa Rosa (G Major) and cellist Joyce Geeting (D Major), were not offset by the Ukiah performance. Mr. Cohen, oddly playing from score, has a lovely bottom-end sound, favored by the hallís acoustics, and adopted a brisk and no-nonsense tempo in the vivace. This was not a note-perfect performance and a page-turnerís slip affected more than once the ensemble. Ms. Casanova was an aggressive partner throughout, not bass heavy in the coda but redeeming herself in the final two chords.

The pianist brought out seductive inner voices in the lovely second movement Adagio and here the partnership was excellent, Mr. Cohenís dynamic control and double stops deftly executed. In the finale the thematic connection with the first movement was explored in a magisterial way, the quiet ending enhanced by an elegant cello grace note in the last bar.

Dohanyiís music is often allied with Brahms, but in the 1904 Op. 10 Serenade there was none of the German master, but a lot of Dvorak and Magyar influences. Joining Mr. Cohen were violist Roy Malan and violist Elizabeth Prior to craft a riveting and convincing reading of the five-movement work. Ensemble was impeccable throughout, the long line of the viola in the Romanza and pizzicato duet of cello and viola over Mr. Malanís soaring violin captivating. Often I have heard a sharp edge to Mr. Malanís tone, especially in the high registers, but the acoustics were warm and direct here and his playing all evening was exemplary. The Scherzo was a presto romp with Mr. Cohenís cello singing out, the dramatic playing underscored by many false cadences. Inter-movement applause seemed finally appropriate.

The Serenade tends to wander structurally, but in a way musician love (as in Schubertís ďheavenly lengthĒ) and in this performance highlighting the composerís consummate invention. A propulsive Rondo concluded the work, Mr. Malanís clean scale playing carrying to the back of the hall and ultimately bringing at the final chords the audience to its feet in appreciation.

The long intermission in a long concert featured only Elgarís Op. 84 Quintet, and in the first movement itís a very un-Edwardian Elgar. Ms. Casanova returned to the piano, joined by Hayward-based violinist Philip Santos and the string trio, to play a surging first movement. Here the composer lurking was perhaps Franck, and the feeling of a romantic approach of 1880 palpable in a movement from 1918. Itís easy but dangerous to conclude that Elgarís Quintet grew out of the carnage of the War, but if itís there at all, it would be in the opening chordal and chromatic Moderato-Allegro. Ms. Casanova pushed the pace and incisively contrasted the opening march and the curious ďpalm courtĒ waltz sections. Major and minor alternate a lot here and Ms. Priorís voice leading was exquisite.

A more familiar Elgar, of the Enigma Variations and Violin Concerto, returns in the Adagio which was elegantly played. Mr. Santos and Mr. Malan sounded as one and Mr. Cohen played the piano phrases with great subtlety. In this groupís hands the movement took on a threnody character, the interplay of vocal lines attainting radiance. A triumphant finale, modulating often, was demanding on each performer with sweeping arpeggio patterns that required Ms. Casanovaís most concentrated playing of the evening. The massive final chords, from the low cello and the pianistís bottom E to the high strings, resounded to loud applause and cheers.

Though each of concertís musicians performs constantly all over the North Bay area, they seldom have schedules that allow them to perform together, making the virtuosity of the instrumental mix an affecting achievement.