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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...
CHAMBER REVIEW
Brave New Music / Wednesday, February 04, 2015
Szymanowski Quartet. Agata Szymczewska and Grzegorz Koloq, violin; Vladimir Mykytka, viola; Marcin Sieniawski, cello

Szymanowski Quartet Feb. 4 in Healdsburg (N. Bell Photo)

INTENSE STRING PLAYING IN HEALDSBURG'S ALL-POLISH COMPOSER PROGRAM

by Nicki Bell
Wednesday, February 04, 2015

A surprise program change greeted a full house in Healdsburg’s SHED Grange Room Feb. 4 when the Szymanowski Quartet from Warsaw played an all-Polish composer concert. Judging by audience comments at intermission the displacement of an arrangement of a Mussorgsky work by Penderecki’s Third Quartet was a happy one.

The entire concert, produced by Brave New Music, was saturated by dramatics that reflected the evening’s theme - No Expressive Stone Unturned. The playing of this consummate ensemble infused the room with provocative music, beginning with the Quartet’s namesake “Nocturne and Tarantella” from 1915. Originally written for violin and piano the piece was arranged for the Szymanowski by Ukrainian composer Myroslav Skoryk, and the contrasts between the gentle Nocturne and the increasingly percussive (and eventually fatal) tarantella were stark and angry.

Penderecki’s recent Quartet (“Leaves from an Unwritten Diary”) received a reading full of vitality and featured several gorgeous viola solos from Vladimir Mykytka. It’s written in one long movement with different scenes, and was commissioned by the Shanghai Quartet in 2008.

At the opening the music was wild and percussive, the string glissandos and shimmering tremolos becoming at times angry, and then reflective and lyrical. There were references to Bartok’s style in the primitive dance figurations and a dialogue of confrontation. The performance was virtuosic.

Following intermission and a position switch for violinists the Bacewicz Fourth String Quartet, based on Polish folk melodies, was performed. Here the dynamics were continuously nuanced, an exceptional accomplishment given the excitement of the playing and the tricky dance-like rhythms. Harmonies in this 1951 work were Brahmsian and then Ravelian, the latter with textures of teasing jazz.

The lovely slow movement was played with intertwined melodies from cellist Marcin Sieniaski and violinists Agata Szymczenska and Grzegorz Koloq, and the finale was a romp that could have come from Prokofiev. Wistful folk tunes turned into a frantic dance, reminding one of the Tarantella performed earlier in the program. The Quartet gave the Bacewicz heart-stopping intensity and a glowing and rapturous finish.

An ecstatic audience demanded an encore and it came with the Quartet’s own arrangement of a waltz from Shostakovich’s Jazz Suite. Recent research has shown the theme actually is from the Russian’s 1956 “Suite for Variety Orchestra” and became famous as a part of the soundtrack to the movie “Eyes Wide Shut.” It was a sweet and sincere ending to a kaleidoscopic concert of potent chamber music.

Contributing to this review were Linda McLaughlin and Vishnu.