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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...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.