Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Redwood Arts Council / Saturday, October 18, 2008
Hugo Wolf Quartet
Sebastian Gertler, Violin
Regis Bringolf, Violin
Gertrud Weinmeister, Viola
Florian Berner, Cello
Tickets $25, $23 members, $10 students with ID

The Hugo Wolf Quartet

VIENNESE LIFE, LOVE AND DEATH

by Steve Osborn
Monday, October 20, 2008

Shortly after taking the stage at the Occidental Community Church on Oct. 18, Gertrud Weinmeister, the violist of the Hugo Wolf Quartet, observed that Sonoma County resembles Vienna in its profusion of hillside vineyards. She further noted that all three composers on the Vienna-based ensemble’s program — Haydn, Schubert and Berg — were wine lovers.

Music and wine have a lot in common. Most fundamentally, both transform reality for a finite amount of time: music for as long the song endures; wine for as long as the inebriation lasts. Both are also made from a single core element (sounds or grapes) that the composer or winemaker picks, crushes, blends, bottles and otherwise transforms from raw material into finished product.

The quality and effect of that product depends on the skill of the composer or winemaker. For the ever-cheerful Haydn, his sonic intoxicant induces jollity and frolic. For the tortured Alban Berg, musical drinking leads to the depths of passion, betrayal and adultery. And for Schubert, a mere sip is the portal to another world, one far removed from the suffering of the present.

Back on stage, the music began with a pronounced intake of air, presumably from first violinist Sebastian Gürtler, as the quartet launched into Haydn’s sprightly Opus 33, No. 5. Taking full advantage of the church’s intimate acoustic, the quartet brought forth every individual line, with precisely controlled dynamics and a remarkable rhythmic flexibility. Rather than chaining themselves to a metronome, the group allowed each of Haydn’s long phrases to develop its own internal rhythm and meaning. The result was a fresh and captivating reading of a time-honored classic.

Gürtler invested the second movement, a Largo cantabile, with real drama by using minimal vibrato and allowing the other voices — violist Weinmeister, second violinist Régis Bringolf and cellist Florian Berner — to come through. Judging from the richness of tone, they all have superior instruments, and the sound they produced was almost sculptural in its solidity and strength. The last movement, a set of variations on a simple theme, allowed each instrument to shine in turn, ending with a fiery Presto replete with tricky bowing.

The festive country dances evoked in the Haydn find their counterpart in the elegiac waltzes of Berg’s “Lyric Suite,” which tells the true story of the married composer’s doomed affair with the wife of a wealthy businessman. The tempo markings of the suite’s six movements offer more than enough evidence of the affair’s inexorable progression from joviality (Allegro gioviale), to love (Andante amoroso), to mystery (Allegro mysterioso), to passion (Adagio appassionato), to delirium (Presto delirando), to final desolation (Largo desolato).

To evoke these various emotive states, Berg uses almost every variety of sound available to the string quartet, along with many varieties of his own invention. The academics may speak of Berg’s 12-tone rows and precisely calibrated metronome markings, but the emotional impact of this powerful work is mainly conveyed by the quality of its sound, from shimmering pianissimo tremolos to thunderous chordal sforzandos.

The Hugo Wolf proved masters at keeping up with Berg’s constantly shifting sonic landscape. Their bows were all over their instruments, whether digging in near the bridge or feathering across the fingerboard. The third movement, with its hushed beginning and onrushing pizzicatos, was particularly remarkable. On the down side, some parts of the suite seemed simply too loud. The effect of maximum volume can be dramatic, but it’s difficult to sustain. A little more mezzo forte would have been in order.

In contrast, excessive volume was never an issue in the concluding work, Schubert’s majestic “Death and the Maiden.” From the ringing chords at the beginning to the furious presto at the end, the Hugo Wolf played this masterpiece to perfection. Their dynamics, tempi and interpretation were squarely aligned.

Each movement brought new insight and depth of feeling. The first was a model of sustained energy; the second of delicate poignancy. The heartfelt variations in the latter movement showed off each player’s impeccable intonation and intelligent phrasing. By the end of the movement, the original melody had floated away on a heavenly cloud. In the Scherzo and Trio of the third movement, the players really dug in with their bows, allowing each note to ring out.

But the fourth movement Presto was the real standout. From the onset, all four players launched into a furious dance, led by the stern-faced Gürtler, whose expression was unvarying. Each note was distinct, the runs not a blur of sound but a sequence of sharply etched intervals. The syncopations drove the rhythms, which became increasingly wild and thrilling.

It was a memorable performance, a reminder that Vienna is still the musical capital, its composers and performers still intoxicated with sound.