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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...
RECITAL REVIEW
Redwood Arts Council / Saturday, February 11, 2012
Boris Andrianov, cello; Alexander Kobrin, piano

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

Itís 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 ďgrowlĒ 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 Brittenís 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. Andrianovís 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.

Schumannís 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 pianistís 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, Shostakovichís Op. 40 Sonata from 1934. Mr. Kobinís introductory remarks, referring to the composerís 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. Kobrinís 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 duoís 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 hallís piano, a less than professional instrument with limited treble sustain, slow key repetition, damper leakage in loud chords and muddy bass tones. Mr. Kobrinís 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.