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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
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.