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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
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.