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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 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...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
RECITAL REVIEW
Sonoma Classical Music Society / Sunday, February 09, 2014
Alexander String Quartet

Alexander String Quartet

IMPECCABLE BEETHOVEN FROM THE ALEXANDER STRING QUARTET

by Terry McNeill
Sunday, February 09, 2014

In the classical music world, snazzy innovation and music puffery catch the headlines, but there is always a role for an instrumental group with long experience and impeccable artistic integrity. The Alexander String Quartet's Feb. 9 concert in the Sonoma Classical Chamber Music Series proved that decades of performance excellence could make an all-Beethoven program seem as familiar and cozy as an old house slipper.

Before a packed Vintage House audience, the Alexander opened with the 1798 C Minor Quartet, Op. 18, No. 4, and gave a svelte and polished reading throughout. There was a uniform blending of sound, with the high-ceiling room favoring cellist Sandy Wilson's cello sound and a desired reverberation time of just under one-half a second. In the second movement (Andante Scherzoso) first violinist Zakarias Grafilo played often with a spiccato bow, and the ensemble was perfection. The dark drama of the Menuetto was played to highlight the piquant harmonies, and the finale was a whirling dance, the Quartet alternating the major and minor keys to a "gypsy" effect. The pizzicato playing was exemplary.

Beethoven's last completed Quartet, Op. 135, closed the first half. Playing in the first movement was insistent but never forceful, the long ascending phrases not melodic but strongly rhythmic. In the tranquil Lento, a peaceful aura was created, the top violin and bottom cello lines surrounding the floating inner voices. Time seem to stop at the end. Though the sharp opening of the finale with themes played in unison was dramatic, the piece's cohesion was palpable. It was a magical performance.

Beethoven's middle-period E Minor Quartet (Op. 59, No. 2) closed the afternoon in a faultless performance where subtle volume changes appeared in each of the four movements. This deftly proportioned playing was never rushed and emphasized long, singing lines. Mr. Grafilo played a section in the Adagio where soft ascending and descending notes were perfectly graded, and Mr. Wilson ended the movement with a long downward phrase of delicacy and finality.

The Presto finale had a wonderful interplay of contrapuntal voices, often beginning with the second violin, and then to violist Paul Yarbrough and the cello and first violin. It was often fast and tenacious playing, jolly and then pushy, with virtuoso work from Mr. Grafilo.

As the West Coast's premier string quartet, the Alexander has appeared in seven of the Sonoma Society's ten seasons, and clearly artistic experience pays rich dividends.