Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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?