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Recital
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...
Symphony
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.