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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
RECITAL REVIEW
Green Music Center / Sunday, January 18, 2015
David McCarroll, violin; Roy Bogas, piano

Violinist David McCarroll

BRINGING NOTES TO SHIMMERING LIFE

by Terry McNeill
Sunday, January 18, 2015

David McCarroll and Roy Bogas opened the 2015 “Sundays at Schroeder” series at the Green Music Center Jan. 18 in a recital that featured admirable virtuosity and a provocative repertoire.

They began with Mozart’s two-movement E Minor Sonata, K. 304. The work is at turns is sinister and tranquil, and the two artists played a modest “question and answer” with many forte and piano contrasts. The elegant final phrases in the Tempo di Minuetto reflected the striking thematic development they were able to generate from the many modulations and melodic dissimilarities.

The afternoon’s moat penetrating playing came in a performance of Bach's D Minor Partita, BWV 1004, for solo violin. I had not heard an extended solo violin piece in Schroeder Hall, and the sound had a distinctive timbre and ringing clarity. Judicious tempos, even in the fleet Gigue, were Mr. McCarroll’s choice, and they worked well. Some might have preferred more lift in the dance movements, but the violinist focused primarily on one tempo per movement with only subtle variation. He used subdued vibrato and spun long pianissimo phrases during the plaintive lament of the Sarabande.

Performances of the Second Partita tend to be judged on how the Chaconne unfolds, and Mr. McCarroll’s reading was masterful. He had full command of the high notes and the frequent double stops, and his bow control achieved sections of captivating pianissimo playing. He met Bach's formidable technical demands at every turn, ultimately generating a boisterous standing ovation from the jammed hall.

Mr. McCarroll's performance in some ways made one wish not to have a piano return to the stage. But in the Prokofiev F Minor Sonata, Op. 80, Mr. Bogas’ instrument returned with a vengeance. Prokofiev’s string works have inexhaustible inventiveness, fantasy and occasional tender lyricism, but in initial comments to the audience Mr. Bogas stressed the dark nature of the 1946 work and his individual preference for the wandering and bucolic third movement (Andante).

Playing from score, Mr. McCarroll fostered the severe opening section as a kind of tentative introduction to the raucous Allegro Brusco. Secure intonation is key here, and his control of pitch was precise. But in a strange way the Sonata favors the piano, and Mr. Bogas was a solid partner throughout, making a wash of sound when needed and deftly accommodating his sonority in the unison sections to the violin’s line.

The finale in this marvelous recital was a barnburner, Ravel’s over-the-top homage to the gypsy violin – Tsigane. In less than ten minutes Mr. McCarroll brought into play a bevy of slides, off-beat accents, off-pitch notes and stylistic surprises that were an aural feast.

Naturally Tsigane brought down the house and led to a serene encore, Arthur Hartmann’s arrangement from Debussy’s piano prelude “Girl with the Flaxen Hair.” It was lovely to hear Mr. McCarroll bringing notes from inaudibility to shimmering life, akin to the famous Heifetz performances of the work. Praise can go no higher.