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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
CHAMBER REVIEW
Napa Valley Music Associates / Sunday, January 11, 2015
Jassen Todorov, violin; Anna Combs Johnson, soprano; Kenn Gartner and Adrian Borcea, piano

Violinist Jassen Todorov

MOZART IN THE MIX

by Terry McNeill
Sunday, January 11, 2015

Napa Valley Music Associates 20th annual Mozart concert Jan. 11 was a mostly Mozart event at the Jamieson Ranch Vineyards, but five mostly romantic composers happily joined the musical mix.

Jassen Todorov was the featured violinist in two Sonatas, the F Major (K. 377) and the B Flat (K. 378), partnered with pianist Adrian Borcea. The acoustics of the winery party room were dead and the duo adopted a muscular approach to the overflowing energy of the K. 377 Allegro, the piano at times covering the violin’s sound. The best playing came in the D Minor Variations movement (Andante) where the violinist’s intonation settled down and the music moved from gloomy resignation to lyricism, with a lovely lightweight ending.

The finale was inspired and seemed to quietly vanish into the distance at the end. Throughout the concert the sub professional piano limited artistic playing from Mr. Borcea and subsequently Kenn Gartner, but on balance the Mozart was an adroit if not a telling performance.

Not hindered by the accompanying instrument was soprano Anna Combs Johnson, singing four works by Verdi and Rachmaninoff. From the opera Othello she sang a deliberate and shapely “Ave Maria,” followed by the sad “Salce, salce” (Desdemona’s “Willow’s Song”) with Mr. Gartner support and beguiling postlude. Her voice is even and strong throughout all registers, carrying well with judicious and intense high notes in Rachmaninoff’s “It Is Nice Here.” The popular “Vocalise” (from a group of Op. 34 songs) is performed without words and with one vowel of the singer’s choosing. Here the piano and vocal lines intertwined to fine effect, the music producing a serene blessing on the 75 listeners.

Closing the first half were four disparate piano nocturnes, each well known but each less than refined due to Mr. Gartner’s struggle with the piano. In Chopin’s E Flat Nocturne of Op. 9 he never found a stable tempo and Liszt’s Liebesträume suffered from memory lapses and lack of harmonic sustain. The concluding Scriabin Nocturne for the Left Hand (Op.9) and Respighi’s mellow Notturno were better, the latter a signature piece for the pianist and played with a soothing right-hand staccato and deft phrasing.

In Mozart’s B Flat sonata Mr. Todorov found a lighter bow and relaxed virtuosity that was not always in evidence earlier. He focused on the beguiling three-part melody of the Andantino, reminiscent of the church song “Fairest Lord Jesus, Ruler of All Nature,” and played with a wider vibrato and control of pianissimo. Mr. Borcea had plenty to do with the many right-hand scale passages in the Allegro, attempting to get an even legato from the instrument that seldom provided it.

Two lovely Mozart works closed the concert, “Porgi Amor” from the opera “The Marriage of Figaro,” and a reduction for piano and soprano of the wonderful “Alleluja” from Exultate Jubilate, K. 165. In the prayerful “Figaro” aria Ms. Combs was never strident and allowed the long phrases to unfold naturally. She has a penchant for this vocal drama where (in the opera) Countess Rosina laments fate and love. Quite the opposite was the lofty tessitura of Mozart’s florid three-minute Alleluja, sung with charm and joy.

A standing ovation ensued, a harbinger of the anticipated NV Music Associates “Spring Into Strings”
Concert March 22 in the same hall.