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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
CHAMBER REVIEW
Music in the Vineyards / Friday, August 08, 2014

UBER VIOLISTS AT MUSIC IN THE VINEYARDS

by Steve Osborn
Friday, August 08, 2014

Full disclosure. I'm an amateur--very amateur--violist, so Friday's Music in the Vineyards concert in Napa Valley was of particular interest to me. The program featured two sextets with prominent viola parts; a trio for viola, flute and piano; and the pièce de résistance: a quartet for four violas. All of these were preceded by witty and informative introductions by the festival's co-artistic director Michael Adams, who happens to be a violist.

Adams somehow managed to avoid any viola jokes in his introductions, but not so here. What is the sound of four violas playing in unison? A cluster chord.

Such might be the fate of four ordinary violists undertaking York Bowen's Fantasy Quartet for four violas, written in 1907. In the hands of Adams and three other violists, however, the results went far beyond perfect unison. The ensemble produced a rich and varied sound with an astonishing range, even though all four musicians were playing the same type of instrument.

Unlike violins, violas come in different lengths and widths, so they naturally sound different from each other. Add in four distinct musical personalities and you have an ensemble with the texture and variety of a Persian carpet. Everyone played well, but first violist Masumi Per Rostad was exceptional. His sound was velvety, and his motions were as graceful as a swan's.

The only thing lacking was a composer befitting the ensemble. It's easy to understand how the once-prominent Bowen has faded into obscurity. His music, while competent, soon descends into a morass of romantic excess. It would be great for the movies, but it doesn't hold up in a concert hall, which is too bad for an ensemble as good as this one. Maybe the infinitesimal four-viola repertoire has something better to offer.

Before the viola quartet, Rostad joined flutist Adam Kuenzel and pianist Wei-Yi Yang for an engaging performance of Maurice Duruflé's "Prelude, Recitative and Variations" (1928), a resolutely Impressionist work written in Paris during the Jazz Age, when Impressionism was but a memory. Despite his backward-looking style, Duruflé was a masterful composer, nowhere more so than in this beguiling trio.

Rostad dominated the opening with his gorgeous sound and commanding stage presence. The others soon proved his equal, and the three interacted seamlessly to bring forth Duruflé's languid melodies and emotive variations. All three displayed a light touch and a genuine feeling for Duruflé's intricate score.

The trio was in strong contrast to the opener that preceded it: Prokofiev's "Overture on Hebrew Themes" (1919), a commissioned work that sounds almost nothing like Prokofiev. The story goes that a Russian ensemble comprised of string quartet, clarinet and piano asked Prokofiev to write a melodic piece based on Hebrew tunes and even gave him a book of such tunes for inspiration.

The result--which Prokofiev disdained--is a medley of Klezmer-sounding ditties with sophisticated instrumentation. The piece gets more boisterous as it goes along, which in this case resulted in some overly loud passages that taxed the sonic limits of the relatively small performance space at Silverado Vineyards. Cellist Tanya Tomkins pierced the din with an outstanding solo that featured an intense and tight vibrato.

A much better sextet concluded the program, this one by Dvorak (1878). Written for two violins, two violas and two cellos, the sextet was published during Dvorak's meteoric rise to fame, and it features unbounded energy and confident writing throughout. At times, it sounds more like a string trio than a sextet. The first violinist, violist and cellist get all the prominent lines, supported by their fellow instrumentalists. There are also occasional duets for each type of instrument.

This structure proved ideal for highlighting the first chairs: violinist Arnaud Sussman, violist Roberto Díaz and especially cellist Brandon Vamos, who embodied the sextet's musical drive with sweeping gestures and intense facial expressions. His tone was beautiful, and his rhythmic sense was unfailingly precise.

The performance was magnificent. The dense texture of the opening movement can often sound muddy, but here each part was distinct and well coordinated, especially the lovely viola duet near the end. In the subsequent Dumka dance, the players displayed exceptional rhythmic flexibility, transporting listeners back to village dances in 19th-century Bohemia. So too with the ensuing Furiant, taken at top speed.

The players saved the best for last. The concluding movement proceeded from a stately opening in the violas and cellos to an increasingly complex set of variations that pulled deeper and deeper meanings out of the central theme. The last of these was an unbridled romp led by first violinist Sussman, who somehow marshaled everyone past the finish line in record time.

[Reprinted by permission of San Francisco Classical Voice.]