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Chamber
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...
Chamber
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...
Chamber
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...
Chamber
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...
Symphony
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...
Opera
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...
CHAMBER REVIEW
Russian River Chamber Music / Friday, September 05, 2008
Rossetti String Quartet

Rossetti String Quartet

WHO'S ON FIRST?

by Steve Osborn
Saturday, September 06, 2008

Inspiration is hard to come by. Abundant proof of that truism was in evidence at the Rossetti String Quartet performance in Healdsburg on Sept. 5, as part of the Russian River Chamber Music (RRCM) series. This talented and accomplished foursome—one of hundreds of such groups currently performing—showed occasional flashes of brilliance but mostly settled for the ordinary.

String quartets are flourishing these days. There are more than a dozen professional quartets in California alone, including not only the Rossetti, but also the St. Lawrence, the Cypress, the Ives and the Alexander—all of whom will be playing in RRCM’s “Made in California” series this season.
With that sort of competition, it’s hard to stand out. Some quartets try to make themselves distinctive through their dress, their stage presence or their repertoire. But what matters most, of course, is their playing.

The Rossetti offered a little bit of all the above, embodied in their burly violist, Thomas Diener. He wore a black shirt with intricate white embroidery culminating in monogrammed cuffs. The fourth finger of his bow hand was beset with an enormous ring that occasionally glinted in the stage lights. He sat straight up in his chair, occupying most of the middle of the quartet, increasing his presence on occasion by rising up out of his seat or leaning over to gaze at his neighboring cellist or second violinist.

As to the repertoire, it ranged only from the standard (Mozart and Beethoven) to the tamely modern (Bernard Hermann and Astor Piazzola). Within these somewhat narrow confines, great playing has to carry the day.

That appeared to be the case with the opening Mozart, K. 387, the first of the six quartets dedicated to Haydn. The musicians began by looking at each other, and they continued to do so throughout the quartet, exchanging glances and flashing smiles, many of them directed at violinist Tereza Stanislav, the only female in the group.

This interaction was reflected in the playing, with precise attention to individual lines, well-executed crescendos, and adroit phrasing. Henry Gronnier, playing first violin, had a bright sound that led the way. His shifting, however, was often too abrupt, impeding his fluidity. Stanislav, at second, exhibited a warm tone, and cellist Eric Gaenslen provided a rock-solid lower voice. One of the high points came in the second movement, when Gaenslen sustained a single note, aided and abetted by the violist, Diener, who leaned closer and closer as the note increased in volume and effect.

K. 387 is filled with extremes of emotion, from the bright opening movement, to the graceful Menuetto of the second, to the profound depths of the Andante cantabile third—all capped by the utter joyousness of the final Molto allegro. The Rossetti proved sympathetic to Mozart’s emotional states, and the resulting performance offered a glimpse of this beloved composer’s true genius.

After this promising beginning, violinists Gronnier and Stanislav switched chairs to play “Echoes” by Bernard Herrmann, the 20th-century American composer best known for his Alfred Hitchcock film scores. The main echo seemed to be of Herrmann’s movie work: “Echoes” sounded for all the world like background music to a suspenseful romance.

The affair began with simple two-note phrases, either ascending or descending. The phrases gradually evolved into triplets and then into an ostinato (repeated) figure, a classic tension-builder for thrillers. The work progressed in this fashion at a leisurely pace, not so much from movement to movement as from scene to scene. We got the moonlit evening on the beach, the meaningful pizzicato footsteps and finally the ponticello (playing near the bridge) tremolo, suggestive of pending denouement.

In contrast to the Mozart, the Rossetti kept pretty much to themselves during “Echoes,” their eyes fixed on their scores. The lack of interaction may have been caused by the switch in violinists, or perhaps by their unfamiliarity with the work. In any event, the performance suffered, making “Echoes” sound even more formulaic than it already was.

Stanislav continued as first violinist in the Beethoven Op. 18, No. 3, which opened the second half. She is an accomplished violinist with fluid fingering and elegant bowing, but she sits so erect and immobile in her chair that she looks like a statue with moving arms. Her playing is flawless but austere, and her eyes are riveted on the score. The net result of all these characteristics is a lack of emotional intensity and interaction with her fellow players.

All the notes of the Beethoven were there, but the performance never really took off, except for a brief flash of brilliance in the closing Presto.

Matters improved somewhat when Gronnier returned to first violin for Piazzola’s “Tango Ballet.” What he lacks in finesse he makes up for in feeling. Parts of the tango really began to swing, and the players started eyeing their partners once again.

The final swoosh of a tango would have made a good ending to the concert, but the Rossetti elected to play an encore: a slow movement from one of Charles Gounod’s nearly forgotten string quartets. The immobile Stanislav was again on first violin, but the French composer’s operatic melodies seemed to suit her better than the Beethoven. She even began to sway.

In the end, the game of musical chairs in the violin section seemed to sum up the Rossetti’s difficulties. They have the talent, but they haven’t yet figured out how to make a consistently inspiring sound.