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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
CHAMBER REVIEW
St. Lawrence String Quartet / Saturday, October 11, 2008

INSTRUMENTAL TAUTOLOGY

by Steve Osborn
Sunday, October 19, 2008

An old joke observes that a string quartet consists of a good violinist, a bad violinist, an ex-violinist (the violist) and someone who hates violinists (the cellist). While the last two characterizations may still hold true, it’s getting harder and harder to tell the violins apart. For the second concert in a row at the Russian River Chamber Music series, the violinists switched chairs midway through the performance.

For last month’s concert by the Rossetti String Quartet, the violin switch was a mixed blessing. In contrast, the switch at the Oct. 11 concert by the ever-daring St. Lawrence String Quartet was a revelation, with new second/first violinist Scott St. John displaying complete mastery of his instrument and full comfort in either role.

Geoff Nuttall—the original first violinist and founding member of the quartet, along with violist Lesley Robertson—is well known for his active legs, swaying upper body, and intense expressions. One lives in constant fear that he will knock over his music stand, but he always manages to elude collisions. Instead, he somehow translates his perpetual contortions into fluid bowing and rock-steady fingering.

Both those qualities were on display in the opening quartet, a rarely played early Haydn, Opus 9, No. 2. Nuttall, still in his customary first-violin slot, began playing almost before sitting down, his bow flying through the air, his upper torso engaged in a series of dramatic lifts worthy of a body builder. But wait. Just to his left, another bow was flying through the air, also accompanied by flailing feet. These belonged to St. John, who matched Nuttall step for step in an elegant choreography of Haydn’s surprisingly emotional score.

Early Haydn is by no means simplistic. The first-violin part of this early quartet is as intricate and demanding as any Haydn wrote, particularly in the intense Adagio movement, with its many virtuosic displays. The playing throughout was vivacious and engaging, from all four corners. Cellist Christopher Costanza and violist Robertson offered a terra firma grounding for the kinetic energy of the violins.

After hearty applause from the full house, the violinists switched chairs, and the quartet launched into “The Bridal Canopy,” a brand-new work by Jonathan Berger, a composer at Stanford University. The quartet takes it title from Shai Agnon’s 1931 Hebrew novel, a kind of Jewish Don Quixote, in which the hero wanders through Galicia (Ukraine) in search of a groom and a dowry for his daughter.

As one might expect, the quartet evokes klezmer music, with frequent wailing melodies and tremolo backgrounds. But there is much more than klezmer at play, as evidenced by the tempo marking for the first movement: “Rapidamente, scintillanti e metallico.” Metallico? Heavy metal fans, take note. Combining a fierce attack, sustained trills and unusual bowing positions, the St. Lawrence generated a mesmerizing sound, without recourse to amplification or wah-wah pedals.

The ferocity of the first movement was more than balanced by the serenity of the second, which began in unison and then explored the limitless possibilities of that most basic interval: the fifth. Combining repeated figures with a chant-like drone, the music became increasingly spiritual, culminating with a chorale-like ending marked by a heartmelting cello solo.

Having witnessed the extremes of emotion, one wondered what the next movement would bring. It began pianissimo, with an insistent, driving rhythm. Soon Ukrainian folk-dance themes began peeping through, accompanied by the ever-moving legs of the two violinists. The effect was joyous, tempered only by the concluding Largo movement, which reverted to the contemplative aspects of the second. All told, the work was coherent, effective and dramatic, as was the performance. The composer joined the St. Lawrence on stage for a standing ovation.

The second half consisted of another rarely performed gem, Dvorak’s Opus 106, his next-to-last quartet, composed two years after his most popular chamber work, the “American” string quartet. Echoes of that masterpiece resonate throughout the later work, from the life-affirming major chords to the constant onrush of new melodic ideas. The score is exceedingly difficult, which may account for the rarity of its performance. Notes fly all over the place, particularly within the violins, which engage in a rollicking series of duets.

Nuttall remained at second, letting St. John bask in the glory of the virtuosic writing. Both were a treat to observe, with Nuttall displaying the mime talent of Marcel Marceau and St. John offering a complete range of dynamics, from shattering fortissimos to pianissimos so quiet that one could hear the audience breathing. Not to be outdone, violist Robertson played several evocative solos, and cellist Costanza stabilized everyone with a beautifully rounded, solid tone.

By the concluding Allegro con fuoco, the St. Lawrence had completely won over the audience. The performance was one for the ages—and it will be for the ages, because KRCB-FM had the foresight to record it for Chamber Music OnStage. You won’t be able to see the flailing legs or the switching violinists, but the sound will still be transcendent.