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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
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
SYMPHONY REVIEW

RIMSKY PROVES RISKY IN GUERNEVILLE

by Terry McNeill
Sunday, September 21, 2008

Seth Montfort’s Russian River Conservatory seems to have a lock on classical music premieres for the North Bay and Sonoma County, with nearly every concert in his Guerneville mortuary-turned–concert-hall bringing arcane repertoire to small but knowledgeable audiences. Concerts produced by Seth are adventures.

Rimsky-Korsakov’s Piano Concerto in C Sharp was the featured work on Sept. 21, with Montfort at the Conservatory piano and Gabriel Sakakeeny conducting the Mortuary Orchestra of Guerneville. Having a professional conductor (Sakakeeny is the director of the American Philharmonic Sonoma County) was an absolute necessity for this concert, as rehearsal time was limited, acoustics were problematic, and the music was probably new to all, including this reviewer, whose only experience with the concerto is the long-vanished Richter recording from the 1960s.

The concerto doesn’t quite fit into conventional orchestral repertoire. Composed in 1882, at the same time as the similar (but longer) Arensky Concerto in F, the Rimsky work is on a different planet than the ca.1875 blockbusters of the Russian canon, the Tchaikovsky B-Flat and the Rubinstein D Minor. Rimsky’s work never really makes an artistic whole. There is much Liszt present in thematic transformation, lots of octaves in the piano, and much alteration of tempo.

In this performance, there was, unfortunately, not much alteration of volume, nor was there any subtlety of phrasing or harmonic balancing. The reasons for this lack of success were manifold: the inadequate and dull piano, the absence of pianistic rubato, the dense textures from the small performance space, and a sense of incompatibility between the solo instrument and the 29-musician orchestra.

On the other hand, the aspects that went well were quite lovely, including the ardent clarinet solos by Jeff Chan; the uniformly good horn playing from Janis Lieberman and Paul Hadley; the long, repetitious but lovely solo cadenza with choice resurrections of the opening theme; and Sakakeeny’s rapt attention to the score.

This reviewer could not stay for the second half, a complete “Seasons” of Vivaldi. Alas, it was my loss, as phone calls the next day revealed that the performance had polish, charm and authenticity.