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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
RECITAL REVIEW
MasterCard Performance Series / Saturday, March 02, 2013
Anne-Sophie Mutter,violin; Lambert Orkis, piano

Violinish Anne-Sophie Mutter

LUTOSLAWSKI PARTITA THRILLING IN MUTTER'S WEILL RECITAL

by Terry McNeill
Saturday, March 02, 2013

Violinist Anne-Sophie Mutter charmed a Weill Hall audience March 2 in a recital that eschewed popular works and elicited rapt attention from the 1,300 listeners present. Forgoing the staples of the Brahms and Beethoven sonatas, or the Franck and Prokofiev, the German artist played provocative and exciting music with her pianist of long standing, Lambert Orkis.

Lutoslawskiís thorny five-movement Partita from 1984 was played in the second half and was a tour de force for the violinist with a rollicking beginning, eerie octave slides and high-pitch whines on two and three strings. Intermixed into a piece of much cacophony was Ms. Mutterís lovely touch, and though the violin part wanders, she was perfectly in sync with Mr. Orkis. Itís rare for a string player to have the same pianist for more than a few years, yet the Mutter-Orkis duo has been together since 1988. The Partita has sections of wide instrumental departure that often resolve quickly into unison playing. Both musicians were impeccable in this difficult work, which is more about sound than notes. Mr. Orkis is a superbly fluent artist who never covered his partner, and it was rare to hear a real forte chord from the piano.

Fluent and committed playing was also heard in the recitalís concluding work, Saint-SaŽns' D Minor Sonata. It was a reading full of passion and free from any hint of vulgarity or the Lutoslawskiís dissonances. The difficult bowing in the Scherzo was beautifully and crisply done (four fast up bows in a row) and the transition to the perpetuo moto finale was well handled. The playing was fast and exciting, and the sixteenth-note passages near the explosive end were well coordinated and drove inexorably to the finish.

The concert opened with Mozartís G Major Sonata, K. 379, in a romantic conception that took the repeats in the variation movement (Andante cantabile) with different dynamics and articulation. This is a hallmark of romantic era music making where repeats always have many subtle differences. At several points Ms. Mutter used a spiccato bow and sporadically played exquisite legato scales, and once after a long upward scale passage she deftly paused before the last note. A lovely effect.

In the solo piano opening to the Schubert C Major Fantasie (D. 934), Mr. Orkisí tremolo was not quite as magical as possible, but the violinistís entrance was magical enough, the beginning so quiet as to be almost inaudible. As the dynamic became louder, still in the opening passage with piano tremolo, Ms. Mutterís vibrato began to intrude. The second "movement" allegro was played in a more restrained manner than one usually hears, to good effect.

The long variations movement was at times shaky and foreshortened by the duoís decision not to take any of the repeats after the thematic statement, which has a ďwritten inĒ repeat in which the instruments alternate taking the lead. Most performances include these repeats. Hungarian touches were captured by the duo as well as some brooding drama.

One encore was offered, Ravelís "Vocalise …tude En Forme de Habanera." This gem in G Minor was seductively played by Ms. Mutter and all the more effective after the excitement of the Saint-SaŽns sonata.

Bronislaw Irving contributed to this review.