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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.