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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...
REVIEW

Cellist Sébastian Gingras

QUARTET WITH PIANO AT SEASON-CLOSING OAKMONT CHAMBER CONCERT

by Terry McNeill
Thursday, December 13, 2012

Completing a rich 2012 season, the Oakmont Concert Series presented a rare quartet concert Dec. 13 featuring the San Francisco Chamber Players. Marin pianist June Choi Oh, a frequent Oakmont performer with her Tilden Trio, brought along an admirable string company to an audience of 150 in Berger Auditorium.

A Telemann transcription in D Minor opened the concert with march-like playing in a pure Baroque style, the violinist Dan Carlson providing lithe phrasing over the piano’s continuo line. Cellist Sébastian Gingras paced the lively Vivace and the ensemble played the sad but lyrical Largo with minimal vibrato and exact intonation. The unison playing in the finale was exact.

Beethoven’s early E-Flat Major Quartet, Op. 16, came next and was another transcription, the 1797 work originally written for piano, oboe, clarinet, bassoon and horn. The present version was arranged by the composer. It’s idiomatic writing, long on repeated phrases and fits the string instruments perfectly. In the Andante Cantabile the piano part becomes more prominent with faint echoes of the Archduke Trio of 15 years later. Ms. Oh played cleanly the many scale passages on the Rondo finale, never covering the strings, and it was an aggressive group approach with slashing bows and proficient ensemble. A lovely work elegantly played.

Following intermission the ambiance sharply changed with Schumann Quartet in E-Flat Major, Op. 47, one of the most popular of all piano quartets. The SFCP began tentatively but quickly delivered the Zwickau master’s surging romanticism and ever-present legato. There was equal distribution of instrumental interest in the Allegro Ma Non Troppo and Ms. Oh adopted a period flourish, adding a short hesitation at the beginning of descending scale passages. The concluding instrumental sforzandos were abrupt and exciting.

The Scherzo, beginning with a toccata and repose sections, was well played as was the glorious and expressive Andante Cantabile. Here violist Jonathan Vinocour had subtle duets with Mr. Carlson, and Mr. Gingras’ melodic projection was graceful and at times forceful.

The Quintet’s finale (Vivace) playing was contrapuntally clear but never brawny, and as in the entire work the prudent execution had the requisite fervor and beauty to elicit a standing ovation.

Vishnu Vishnu contributed to this review.