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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

Jeewon Park and Edward Arron

RICH PALETTE OF CELLO COLORS IN ARRON-PARK OAKMONT RECITAL

by Terry McNeill
Thursday, January 08, 2015

Rachmaninoff’s haunting cello sonata highlighted Music at Oakmont’s first 2015 concert Jan. 8 in the retirement community’s spacious Berger Auditorium.

In a reading that was both muscular and lush cellist Edward Arron and pianist Jeewon Park explored the ripe romanticism of the Russian’s 1901 G Minor work, replete with references from the F Minor Piano Concerto of ten years earlier. It was played sumptuously with initially fast tempos and piquant inner voices. Mr. Arron is a cellist with an approach mid way between Sonoma County favorites, adding some of Zuill Bailey’s architectural phrasing and some of Yo Yo Ma’s extravagant sonority to his virtuoso execution.

Ms. Park was not a note perfect pianist in this expansive piece (who is with Rachmaninoff’s piano demanding writing?) but never covered her partner. Balances throughout were clear and the glorious Andante movement (really a Largo) had autumnal shape and emotional depth.

The finale was a tour de force of potent chamber music with noble passages, lovely long ritards leading to the rollicking coda and an equally long and swelling vibrato on the cello’s last note.

Two Beethoven works formed most of the first half, the early Variations on “Bei Mãnnern” from Mozart’s opera “The Magic Flute,” and the C Major Sonata, Op. 102, No. 1. Playing from score as he did throughout the afternoon Mr. Arron perfectly combined his sonority with the piano line in the seven Variations, and many high notes near the end had an ethereal whine and a Turkish flavor. In the Sonata, Beethoven’s fourth, the music is far removed from the often impetuous third Sonata, and this performance underscored the cello’s lower register in the slow introductions to each of the two movements. The artist’s intonation was sure as was his spicatto bow technique. His instrument can growl as well as lyrically exalt, and both artists managed the long phrases in the introductions with consummate ease and beauty. It was a performance of depth and attention to the smallest detail.

Piazzolla’s Le Grand Tango closed the first half, a 1982 composition that was packed with snazzy tasks for Mr. Arron – fast scale passages, slides that were a shadow of portamento, delightful sonic blurs and strongly syncopated rhythmic playing from both Ms. Park and Mr. Arron. The piece surpasses the more popular “Liber Tango” in complexity and impact, and it brought the first of two standing ovations from the 150 in the hall.

For an encore, Mr. Arron spoke to the audience about “cooling down” from the sonorous Rachmaninoff ending, and played a delectable six-minute Dvorak “Silent Woods,” an 1893 transcription by the composer from a two-piano suite. It had harmonies of early Richard Strauss, and the quiet melancholy and leave taking of the work left the audience in a brief reverie.

In technical accomplishment and interpretative richness it was one of the finest cello recitals in memory on the North Coast.