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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.