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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 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...
CHAMBER REVIEW
Miró Quartet / Saturday, March 08, 2014
Daniel Ching and William Fedkenheuer, violin; John Largess, viola; Joshua Gindele, cello

The Miró String Quartet

A MUSICAL MARRIAGE MADE IN HEAVEN

by Steve Osborn
Saturday, March 08, 2014

For their March 8 concert in Occidental, the Miró Quartet played something old (Haydn), something new (Dutilleux), something borrowed (Schubert's "Death and the Maiden," based on his song of that name) and something blue (a colorful encore). Having fulfilled the terms of a proper wedding gown, they offered their listeners the sonic equivalent of marital bliss.

The listeners were many. The Occidental Center for the Arts was completely sold out, and a few extra chairs were brought in. The size of the audience bodes well for the venerable Redwood Arts Council, which was in dire financial straits last year but appears to have recovered thanks to an outpouring of community support. If the Council continues to mount concerts as stellar as this one, their future looks bright.

"Stellar" is just one of many adjectives inadequate to describe the musicality and accomplishment of the Miró. Formed in 1995, they have refined their unanimity of sound and expression through years of practice and extensive touring. Their members--four youngish men--appeared on stage in identical black suits with identical thin black ties and proceeded to play as if they were just one person with eight arms instead of two.

The "something old" opener was Haydn's familiar "Lark" quartet, Op. 64, No. 5. Like the bird of the title, first violinist Daniel Ching sang out from the opening bars, exhibiting a muscular tone and refined expressivity. The acoustics in the hall are excellent, and every instrument could be heard distinctly, from the full sonority of the cello to the perfectly blended middle instruments and the soaring first violin.

Every aspect of the Miró's sound was impeccable, including the wonderful swells, the precisely controlled tempi and the razor-sharp intonation. Mr. Ching in particular displayed an astounding fluidity of tone. Playing entire sections from memory, he seamlessly transitioned from the soloistic passages in the first movement, to the serene melody of the second, the infectious dance of the third and the furious perpetual motion of the last. Not to be outdone, his colleagues proved every bit his equal. It was a zesty performance, full of life.

For "something new," the Miró chose Dutilleux's "Ainsi la nuit" (Thus the night), composed in the 1970s. As noted in the introductory remarks by violist John Largess, Dutilleux was strongly influenced by the Impressionist composers and by Marcel Proust, whose concept of memory is reflected in the structure of "Ainsi la nuit." Central to that concept is the use of "parentheses" before each movement that offer a preview of events or a recollection of previous events.

The result of all those influences is a haunting seven-movement work that evokes the night amid a constant play of memory. The transitions between movements are subtle, and there's only one genuine break in the entire piece, between two movements called "Litanies." The musical elements are reminiscent not only of Debussy and Ravel, but also of Bartok, whose influence can be heard in the extensive use of harmonics, trills, plucking, tremolo and glissandi.

Among the many questions prompted by "Ainsi la nuit" is what constitutes a musical line. Much of the quartet consists of fragments passed from one instrument to the next, congealing briefly and then dissolving. The Miró displayed great sensitivity in connecting these disparate dots, moving forward through the work with assurance and a keen knowledge of its unusual structure. In the final "Temps suspendu" (Time suspended) movement, they held their concluding poses for a long time before signaling the end.

Thoughts of time and mortality also permeated the second half of the program, given over to Schubert's monumental "Death and the Maiden" quartet, whose central theme is borrowed from the composer's song of the same name. Before the performance, cellist Joshua Gindele explained that Schubert wrote the quartet with full knowledge of his impending death, and that the work is filled with contrasts between the calming voice of death and the desperate pleas of its pending victim, the maiden.

The Miró highlighted these contrasting moods throughout the work. Their playing in the first movement was fiery, with strong inner voices and an uncanny balance between all four parts. This balance became literal in the drone-like beginning of the second movement, where all four played the melody of "Death and the Maiden" essentially in unison before dispersing to enact its variations. They were so locked in to the performance that the sudden appearance of a loud siren from outside the hall left them unfazed.

"Intensity" was the operative word for the Miró's performance. Moving on from the angelic variations of the second movement, they gathered intensity in the brief Scherzo and then achieved maximum engagement in the concluding Presto. Their playing was heroic, with explosive but fully controlled power. They even smiled toward the end, where the constant shifts between minor and major suggest optimism even in the face of doom.

Called back to the stage repeatedly by a standing ovation, the Miró offered "something blue": the fragmentary Andante from Schubert's unfinished string quartet in C minor, D. 703. Just two and a half minutes long, the fragment begins with gorgeous writing for all four instruments and then trails off with a brief solo for the first violin. It leaves one begging for more. In the case of Schubert, that will never happen, but the Miró may someday oblige. Their return to Occidental would be more than welcome.