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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Mastercard Performance Series / Saturday, January 24, 2015
Yo Yo Ma, cello

Cellist Yo Yo Ma

MESMERIZING BACH AND CASALS IN MA'S WEILL HALL RECITAL

by Terry McNeill
Saturday, January 24, 2015

Cellist Yo Yo Ma’s warm friendship with North Coast audiences entered a new chapter Jan. 24 in a standing-room only and stage seats Weill Hall recital. Playing three Bach Suites for solo cello, Mr. Ma could have echoed the young Liszt’s famous comment, “the concert is me.”

But the concert was really about Bach, and Mr. Ma’s dedication and mastery for these ever-fresh works composed in the early 1720s in Cöthen, Germany. Wearing a simple dark suit he walked quickly on stage to first of four ovations, and with his trademark grin got down to business with the G Major (No. 1), BWV 1007.

The lack of winter audience coughs was a surprising bonus, and the cellist made the most of the hall’s silence to fashion an evening’s Bach that spotlighted rhythmic virtuosity rather than a constantly speedy bow and work on the fingerboard. It seemed there was never an extended presto the entire night, and Mr. Ma was in no hurry to get anywhere in this Suite and the No. 5 in C Minor (BWV 1011) that closed the first half.

All through both works the pianissimo playing was superb with varied attacks and textures in the repeats and a fluid legato with minimal vibrato. Often there was no vibrato at all in long-held notes at the end of silken phrases. These were carefully balanced interpretations, often restrained and emphasizing the subtlest changes in tempo and inflection. The crescendos were long and beautifully paced.

Mr. Ma drew a warm geniality in the concluding C Major Suite (No. 3, BWV 1009) and the sonority was underscored in his cello by the use of low open C string in chords. His control of multiple stops was sovereign in this seven-movement suite. The plaintive and magisterial Sarabande was at the center of his reading, and the Gigue came forth as a rustic dance with pedal point.

Responding to a spirited standing ovation Mr. Ma eschewed in an encore something popular and fast (the Gigue from the E Flat Suite) or popular and slow (St. Saëns’ “Swan”) and paid homage in audience remarks to Pablo Casals, who in modern times first played the six Suites together and first recorded them in 1936. He played a mesmerizing “The Song of the Birds” that the Catalan cellist wrote in the 1930s. The shimmering long phrases and luminous trills sounded out in a Weill Hall where nearly 1,500 people breathed as one with the extraordinary musician.