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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
RECITAL REVIEW
Krechkovsky-Loucks Duo / Friday, August 23, 2013
Iryna Krechkovsky, violin; Kevin Kwan Loucks, piano

Iryna Krechkovsky and Kevin Kwan Loucks

KRECHKOVSKY-LOUCKS DUO RETURNS WITH 3 SONATAS AND A MELODIC MÉLODIE

by Terry McNeill
Friday, August 23, 2013

In a surprise for Sonoma County chamber music, a scintillating piano and violin duo has seemingly become a yearly visitor. Appearing August 23 for a second time in Santa Rosa’s First Presbyterian Church, the Krechkovsky-Loucks Duo moved a standing room audience of 300 to wild applause in a benefit for the Living Room shelter program.

The concert of three sonatas began with Debussy’s last work, the wonderful G Minor Sonata from 1917. A brief piece of 13 minutes, the sonata demands refined musicianship. The playing of both violinist Iryna Krechkovsky and pianist Kevin Kwan Loucks was deftly animated and at times vehement. The first two movements, especially the beguiling Fantasque et léger, were suitably atmospheric and harmonically ambiguous, but all was swept away in a brilliant très animé conclusion in G Major. Instrumental balances were excellent, and Ms. Krechkovsky has a fluid spiccato bow technique and subtle portamento. It was powerful playing, and the audience, here and throughout the concert, happily clapped after each movement.

Janacek’s four-movement Sonata from 1914, was likely a first hearing for most in the church, unless they attended last season’s splendid performance in Weill by Vadim Repin and Andre Korobienikov. The violinist used a score for the only time in the concert, perhaps in homage to rugged Czech nationalist style and the broad tempos she selected. The opening con moto was played with passion that was suited to the episodic character, and the lyrical Ballada had lovely bucolic moments, the final note from the violin’s high E sailed out of the church into the night.

Aggressive playing was the norm in the final two sections with quick thematic thrusts from both artists, the main themes banal at first and resolving to a cogent and pungent conclusion.

In Brahms’ D Minor Sonata (Op. 108), the Duo dug into the composer’s unusual rhythmic features; but in the frequent pedal point, the piano became too loud, and the bass section was often indistinct. Ms. Krechkovsky widened her vibrato in the expressive Adagio and played with accurate double stops and occasional, albeit minor, pitch variation. The piano part continued to cover the violin in the Presto finale, though in boisterous abandon and thematic trading, the Duo was resplendent.

Though no encore was offered, the Duo did perform an extra piece at the beginning of the second half, Massenet’s pensive “Melodie” from the opera “Thais.” The audience seemed to be mesmerized with the captivating playing that lacked even an ounce of schmaltz.