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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
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?