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...
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...
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...
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...
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...
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...
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,...
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...
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...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
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.