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Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
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...
CHAMBER REVIEW
Urioste-Brown Duo / Thursday, April 9, 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 9, 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.