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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, September 13, 2012
Jennifer Culp, cello; Betty Woo, piano

Cellist Jennifer Culp

BEETHOVEN VARIATIONS HIGHLIGHT CULP-WOO RECITAL AT OAKMONT

by Terry McNeill
Thursday, September 13, 2012

Cellist Jennifer Culp brought a surprise to her Oakmont Concert Series performance on Sept. 13 when she opened with Barber’s early Cello Sonata, Op. 6. Beginning with a tonal yet difficult to assimilate work was a good choice, as mostly familiar pieces filled out the recital before about 125 patrons in Berger Auditorium.

Partnering with long-time collaborator pianist Betty Woo, Ms. Culp played the three-movement Barber sonata with solid technical command and admirable balance with the piano. Her sound is rich, never thin nor weak, and her control of pianissimo all afternoon was exemplary. The extended and often segmented Adagio movement is at the center of the sonata, and it had parts that were dreamy and rhapsodic. Barber’s piano part, played by the composer at the 1932 premiere, presented no ostensible difficulties for Ms. Woo, and her emphasis was in the lyricism that appears throughout the piece. Ms. Culp's intonation was secure throughout.

The sonic texture was lightened for Beethoven’s "Twelve Variations on a Theme from Handel’s Oratorio Judas Maccabaeus," WoO 45. The actual them is “See, The Conquering Hero Comes,” and each of the variations is very individual, including one for the piano alone and several requiring fleet right-hand figurations in the piano part. Ms. Culp’s vibrato was everywhere flexible, and she projected the wonderful theme in many sharp contrasts. Ms. Woo played the third variation’s rapid repeated notes brilliantly. The long penultimate variation (Adagio) was particularly well played, with the arpeggios in the piano part setting off the cello’s thematic statements.

This set of variations, from 1796, is a masterful example of Beethoven’s endless invention, and it received some of the best playing of the concert, along with substantial applause.

A novel transcription of Scriabin’s B-Flat Minor Etude from Op. 11 closed the first half. The etude was an odd program choice as it is short and achingly nostalgic. Piatigorsky’s arrangement has a beautiful ending tessitura, fading away. Ms. Culp played elegantly, with graceful bow attacks and faultless phrasing.

Rachmaninoff’s G Minor Sonata, Op.19, filled the second half. Composed in 1901, this work is acknowledged as one of the foremost cello sonatas of the 20th century. The opening Lento – allegro moderato found the two performers in a pensive mood, and they chose moderate tempos and restrained volume.

The following Scherzo was played more robustly, but it was clear that this was not to be a monumental reading. Ms. Woo played with facile technique, but she didn’t project the luscious themes with a big sonority. By the same token, she never covered the cello line. The audience benefited from the first-rate balances and the haunting themes from the cello in the famous Andante. Ms. Culp seldom leans into the phrases in the Russian style of Shafran, Piatigorsky and Rostropovich, but her burnished tone and patrician singing line were formidable. She eschews the now-popular animated gestures of cello virtuosi. Instead, she plays in a restrained, focused style even during the most intense drama.

The Rachmaninoff is a grateful work for performers and at nearly 30 minutes of opulent romanticism, deeply satisfying for listeners as well. Ms. Culp and Ms. Woo clearly loved playing the sonata.

No encore was offered.