Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
CHAMBER REVIEW
Parker Quartet / Friday, February 15, 2013
Daniel Chong and David McCarroll, violin;
Jessica Bodner, viola; Kee-Hyun Kim, cello

Parker String Quartet

SOLID GOLD FROM THE PARKER STRING QUARTET

by Steve Osborn
Friday, February 15, 2013

Santa Rosa has been blessed with three superlative chamber music concerts during the past month, beginning with the Calder String Quartet in late January, followed by the Alexander String Quartet with violist Toby Appel in early February, and culminating with the Parker String Quartet one day after Valentine's Day. Choosing among the three ensembles is a difficult task, but I think the gold would ultimately go to the Parker, which proved itself capable of playing even the most difficult music with precision and élan.

Sadly, the Glaser Center in downtown Santa Rosa was only about half full for the Grammy-winning Parkers, but that didn't seem to dampen the musicians' or the audience's enthusiasm. All four members of the quartet, each one more youthful than the other, played as if on fire from the opening note to the last. The opening work, appropriately enough, was from the ever-youthful Mozart, one of his six "Milanese" quartets, written when he was a teenager. This one, K. 156, is in G Major.

The inner voices in the quartet--second violinist David McCarroll and violist Jessica Bodner--instantly established themselves as a force to be reckoned with, playing out their lines in equipoise with their outer brethren: first violinist Daniel Chong and cellist Kee-Hyun Kim. (During the current season, Mr. McCarroll is replacing regular second violinist Karen Kim, who is on sabbatical.) As is often the case with Mozart, the slow movement was the most riveting section, and the Parker played it as if it were one of the composer's mature works, bringing out its exquisite lines and delicate counterpoint.

In brief remarks after the Mozart, Mr. McCarroll said he was glad to be home (he grew up in Sonoma County) and that the just-played quartet and the Dvorak quartet to come in the second half were relatively obscure works. The true center of the program, according to him, was the impending Debussy string quartet, a fixture in the repertoire since its premiere in 1893. The performance that followed demonstrated not only why the Debussy has become canonic, but also how much more this masterpiece still has to offer.

To hear the Parker play the Debussy quartet was nothing short of a revelation. In the first movement all the familiar lines and turns of phrase took on new meaning when played with such precision and understanding. The playing was assured from the opening measures, when opulent legatos gave way to sharply articulated retakes (repeated down-bows). Words such as "flawless," "lapidary" and "impeccable" can only begin to describe the seamless blending, the sudden dynamic changes and the emotive playing, particularly from Mr. Chong.

Ms. Bodner took center stage in the second movement, playing all 13 iterations of her 13-note phrase as if each was a distinct event. In contrast to Mr. Chong's emotive swaying, she held herself aloof, letting her fingers dance across her instrument of their own accord. Her tone was absolutely gorgeous. The movement, marked "lively and rhythmic," seemed to float above the earth like a scudding cloud, with sudden thunder from the cello adding a touch of drama.

The slow third movement continued the gorgeous sound, and here again Mr. Chong captivated the audience as he sang out his expressive lines. When the final movement began, one could only sit back and be entranced by the sparkling musicianship from all four corners of the stage. The ending came all too soon.

Dvorak and Debussy both begin with the same letter, but there the similarity more or less ends. Debussy was a musical revolutionary, but Dvorak was content to use the existing forms and imbue them with his own optimistic style. His eleventh string quartet in C Major, Opus 61, closely resembles his dozen or so other quartets, with an Allegro opening movement, an Adagio second, a minuet-style third and a Vivace conclusion. The melodies are bright and open, and the feeling is often happy and buoyant.

There was absolutely nothing wrong with the Dvorak, but it sounded tame in comparison with the Debussy. Dvorak's technique is more limited, his imagination less captivating. Nonetheless, the performance was exhilarating. Mr. Chong drove forward with breathtaking speed; Mr. McCarroll sang out whenever the opportunity presented; Ms. Bodner reveled in the many viola solos (Dvorak was a violist); and cellist Kim provided a rock-solid foundation throughout. They were as much fun to watch as they were to hear.

At the end, the only regret was that more people weren't there to hear this magnificent group, which had been brought to town through the auspices of the Redwood Arts Council. The Glaser Center is an excellent venue for chamber music, and it's centrally located, with plenty of parking. There's even a friendly lobby with food and drink during intermission. What's not to like?