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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
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.