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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.