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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHAMBER REVIEW
MasterCard Performance Series / Sunday, October 27, 2013
Takác String Quartet: Edward Dusinberre and Károly Schranz,violin; Geraldine Walther,viola; András Fejér,cello. Erika Eckert, viola and Scott Pingel, bass

Takács String Quartet

FROM HUNGARY WITH LOVE

by Steve Osborn
Sunday, October 27, 2013

The United States is blessed to have dozens of great string quartets in residence, from the upstart Parker, to the mid-career Emerson, to the venerable Guarneri. Few if any of the greats, however, can surpass the Takács String Quartet, which emigrated to the United States from Hungary in 1983 and has been dazzling American audiences ever since.

Currently in residence at the University of Colorado, the quartet has been playing regularly at Cal Performances for many years, and now they have added the Green Music Center in Rohnert Park to their list of stops. Given their performance at the GMC's Weill Hall on Oct. 27, one can only hope they'll return as soon as possible. They were magnificent.

The sight that greeted the audience from the Weill Hall stage was a bit unusual: five chairs instead of the usual four, and a pair of microphones in the middle. The chairs were easily explained, since the Takács was playing quintets, but the microphones remained a mystery until intermission, when one of the GMC's artistic directors explained that they were for people with assisted listening devices, not for amplification.

If ever a group didn't need amplification, it's the Takács. All their players, plus their quintet guests, projected a warm, confident sound, easily filling Weill Hall with sonic glory. The GMC had wisely decided to restrict ticket sales to the ground floor, which was nearly full, and the sound bloomed unobstructed overhead.

Leading the pack was cellist András Fejér, a curly haired benevolent gnome who seemed to meld with his instrument and to center the group. His tone was deep, rich and gorgeous, an unburied treasure for all to hear. His Hungarian compatriot on second violin, Károly Schranz, featured a mop of white hair and a playing style that bordered on the frenetic, constantly bobbing back and forth in time with the music.

Fejér and Schranz are the sole remaining members of the original quartet, founded in 1975. In recent years they have been joined by the restrained but impeccable British violinist Edward Dusinberre and local favorite Geraldine Walther, the former principal violist of the San Francisco Symphony. The changes have been seamless, and all four play together as if they'd been practicing for decades.

Not only was the Takács glorious, but their program was one of a kind: two rarely heard Dvorák quintets, one with an added bass and one with an extra viola. Coming from opposite ends of Dvorák's long career, the quintets display his evolution as a composer, moving from classic European forms to an open American sound.

The bass quintet is one of Dvorák's earliest works, arriving just after his meteoric rise to fame on the strength of his "Slavonic Dances." The work is classic in many respects, from the motivic development of the first movement, to the dance figures of the second, to the rollicking rondo of the finale. It's hard to understand why Dvorák added the bass, which mostly just doubles the cello line; but it does provide some added heft and distinction--How many bass quintets can you name?

Throughout the performance, the Takács and bassist Scott Pingel moved freely but in perfect unison. Dvorák really knows how to hand off melodies, and certain themes moved around the quintet like electric current, flowing from one set of fingers to the next. Of the many transcendent moments, the cello solos in the luscious Andante were the most memorable.

After intermission, the focus shifted to the violas, which doubled in strength thanks to the addition of Erika Eckert, one of the Takács's fellow faculty at the University of Colorado. She opened the unfamiliar "American" quintet (not to be confused with the ubiquitous "American" quartet composed around the same time) with a lovely solo, virtually announcing that the work would dwell on the middle instruments.

Like its famous cousin, the "American" quintet is heavily influenced by Dvorák's famous sojourn in the United States. The first movement is replete with American folk tunes, the second sounds like a barn dance, the third like a church service on the High Plains, and the last like an ebullient outpouring of New World optimism.

Even though she didn't get the opening solo, Geraldine Walther was the absolute star of the quintet, with her soaring tone and compelling lines resonating throughout all four movements. Her solo in the second, with its distinctive quintuplet rhythms, was particularly gripping; while that of the third settled into a luxuriant hymn. Not to be outdone, her plucking duet with Eckert in the finale was a model of rhythmic intensity.

The ovation was long and sustained, but sadly there was no encore--unless the GMC brings them back.