STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Alexander Kobrin and Boris Andrianov in Occidental (K. Broderson photo)
BRILLIANT RUSSIAN DUO IN REDWOOD ARTS COUNCIL OCCIDENTAL RECITAL
by Terry McNeill
Saturday, February 11, 2012
It’s a rare occurrence in a cello recital that each programmed piece was both a masterwork of the literature and flawlessly performed, admitting nothing but awe and warm satisfaction from even the most seasoned string aficionado.
Such was the thrilling Redwood Arts Council recital of Boris Andrianov Feb. 11 in Occidental's Performing Arts Center before a packed house of 200. How does a flawless cello recital unfold? First a powerful pianist is needed, and the Russian Virtuoso Alexander Kobrin is just that. Next, a serious and demanding program is expected. No David Popper or Julius Klengel pieces. Finally, the cellist has to have a powerful interpretative personality, similar to but distinct from artists such as Casals, Piatigorsky, Rostropovich and DuPre.
Mr. Andrianov has this artistic stature and proved it quickly in the evening's initial work, Beethoven's C Major Sonata of Op. 102. The haunting opening theme moved effortlessly into the lyrical second theme and Mr. Andrianov underscored the many subtle dynamic contrasts. The Montagnana cello seemed to “growl” caressingly in the Adagio, preceding the introduction to the finale that alluded deftly to the first movement. Both artists securely built the momentum in a seamless partnership but kept distinct voices.
The first half closed with Britten’s Op. 65 Sonata in C, a commanding piece from 1961 in five disparate movements. The furious sections of musical interplay found Mr. Kobrin note perfect and never afraid of his left hand power, and Mr. Andrianov’s cello rich in the bottom register. The pizzicato opening of the Scherzo was magical, the plucking in the cello expected but Mr. Kobrin elicited nearly identical sound from his hammered string piano! His running passages were always clearly articulated, continuing into a perfectly balanced slow march of the Lento, the cello played with mute. Here the performers made the music sound like it was composed by Shostakovich, becoming clangorous and sonically surprising with long finger-board slides from the cellist. Mr. Andrianov all evening exhibited consummate bow control and a jumping spiccato bow in the energetic fifth movement Marcia.
Schumann’s three lush Op. 73 Fantasiestuck began the second part, the most popular piece on the program due partly to its many transcriptions for clarinet and French horn. But the tender and expressive sections sound perfect for the cello and Mr. Andrianov made the most of their romantic restlessness. The phrasing from both artists was patrician and the second part (Lebhaft leicht) elegant in every detail, especially in the pianist’s velvet arpeggios.
Italian composer Giovanni Sollima (b. 1962) is a cello master and his Lamentatio (1997) is a tour de force for solo cello, requiring a brilliant technique of the performer. Mr. Andrianov played the eight-minute work fearlessly and with radiant tone and dead-on pitch, as he did throughout the concert. The audience appeared astonished and excited at the potent reading of an unfamiliar composition.
Ending the recital was a pillar of 20th-Century music for cello, Shostakovich’s Op. 40 Sonata from 1934. Mr. Kobin’s introductory remarks, referring to the composer’s Fourth Symphony and opera Lady MacBeth of the Mtsensk from the same period, underscored the masterly invention of the opening Allegro. Here both musicians were interested in the long line, the contemplative first theme giving way to dramatic outbursts, always supported by Mr. Kobrin’s powerful sound and infallible left-hand octaves. Mr. Andrianov carefully widened his vibrato with increasing volume, symmetrically narrowing it with lowered sonority. The cellist played with concentration, eschewing the physical flamboyance of Misha Maisky without giving up one iota of tonal opulence.
As in many Shostakovich works, the themes can be initially banal but always take on complexity and become unforgettable in context, especially when performed with this duo’s artistry. The concluding Allegro was played with little string vibrato, beginning with mute but then quickly becoming vivacious and witty. This was playing with sweep and big gestures.
Mention needs to be made of the hall’s piano, a less than professional instrument with limited treble sustain, slow key repetition, damper leakage in loud chords and muddy bass tones. Mr. Kobrin’s approach was to give no quarter, making the inadequate instrument sing and roar as if it were without peer.
The two stellar Russians gave the finest cello recital in the North Bay since the Isserlis-Gerstein concert in Newman long ago. Their musical marriage was passionately united in the service of great music.