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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.