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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
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.