Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
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.