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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
CHAMBER REVIEW
Urioste-Brown Duo / Thursday, April 09, 2015
Elena Urioste, violin; Michael Brown, piano

E. Urioste and M. Brown April 9 in Berger Auditorium

ANGLO BRITISH MUSIC AT OAKMONT VIOLIN RECITAL

by Terry McNeill
Thursday, April 09, 2015

In a balanced Music at Oakmont recital April 9 violinist Elena Urioste played an animated program featuring British and American composers, but with some compositional surprises.

The first came with Paul Schoenfield’s Four Souvenirs, a suite of four pieces that combined several dance forms that were at turns lighthearted and intricate, especially in the contrary motion lines of the complex final Square dance. This was snazzy music reminiscent of the composer’s popular “Café Music” and Ms. Urioste played them well, albeit with a thin tone and being covered in the Tin Pan Alley by her pianist Michael Brown.

Elgar’s Sonata in E Minor, Op. 82, concluded the first half in a performance that was well played but ultimately lacked the sweet Edwardian nostalgia under the surface of the piece. Playing from score as she did all afternoon, Ms. Urioste took a quick tempo in the opening Allegro. In remarks preceding the playing the violinist spoke to the audience of the second–movement Romance, and she played it lovingly with carefully-graded short rests and elegant scales. She caught the subtle mysticism of this section where there are elements of contemporary sonatas by Faure and Respighi.

The closing Allegro had her best playing as she dug deeper with increased tonal richness and just the right vibrato and thematic interplay with Mr. Brown. A wistful theme before the development was deftly played and introduced the Sonata’s short and strenuous coda.

The afternoon’s highlight came just after intermission – the Britten Suite, Op. 6. This is youthful Britten from 1934, far removed from the expansive music of “Peter Grimes” and the church parables initiated by “Curlew River.” In five contrasting parts the violinist moves from introductory snippets to Prokofiev-like high-register notes in the March and furious bowing in the Moto Perpetuo. This was virtuosic playing from the duo, even when in the Lullaby the violin sound emerged from a ppp level to a shimmering lament with subtle portamento and Mr. Brown’s part quietly lodged in the treble.

The final Waltz was played with rhythmic syncopation and pointillist fragments, Ms. Urioste underlining the effects of harmonic seconds, quick turns and histrionic disparities.

Mr. Brown’s own work, “Echoes of Byzantium,” followed and was an idiomatic 12-minute piece that had effective bursts of sound and alternating violin and piano chords. There was again much high-register writing and a bit of Vaughan-Williams’ “The Lark Ascending” with a long single-note fermata at the end that faded into obscurity. Mr. Brown’s playing captured in the 2006 tonal work’s piquant sonorities with liberal damper pedal and sure-footed technique.

Three Heifetz arrangements of popular Gershwin tunes closed the concert in high style, all from the opera “Porgy and Bess.” These are consummate transcriptions for the violin, loaded with double stops and nonchalant humor that captured the insouciance of Gershwin’s melodies. The best were “Bess, You Is My Woman Now” and particularly “It Ain’t Necessarily So.”

The Urioste-Brown duo played each with easy panache, to the delight of the 175 in the Berger Auditorium audience, but offered no encore.