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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
RECITAL REVIEW
Mastercard Performance Series / Sunday, April 19, 2015
Anne-Sophie Mutter, violin; Lynn Harell, cello; Yefim Bronfman, piano

Muter-Bronfman-Harrell Trio Taking Applause in Weill April 19 (Eisaku Photo)

STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT

by Terry McNeill
Sunday, April 19, 2015

Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program had been played many times recently during their long American tour.

Beginning with the iconic Beethoven “Archduke” Trio in B-Flat Major, Op. 97, the group chose moderate tempos and eschewed old school extended ritards. Two of the players, cellist Lynn Harrell and pianist Yefim Bronfman, gave the audience of 900 a fresh hearing of their artistry. Mr. Harrell’ s last local appearance in the Dvorak Concerto disclosed a deferential approach, but in this concert he found his footing and was more assertive, though in the opening Allegro he seldom played legato, but used a Louré technique, almost stopping the bow between each note within a slur. Regarding Mr. Bronfman, readers of Classical Sonoma may remember reviews of a coarse and pounding Liszt Sonata in Wells, and a technically brilliant but boring interpretation of the Tchaikovsky B-Flat Concerto on the Weill stage. Here he played with greater individuality, rustic charm and attention to his partner’s phrasing.

And violinist Anne Sophie Mutter? Her playing was solidly artistic with less of the pianissimo sans vibrato that characterized past sonata performances. In the variation that begins well into the Andante Cantabile she played without any vibrato, an expressive choice that can be haunting but in the Beethoven is seemed contrived and strange. She was the suave performer in the Trio with legato phrasing juxtaposed with Mr. Bronfman’s rollicking accented bass notes in the Scherzo.

The last movement, that delightfully skittish and humorous section, demands a lot of clarity but the Hall’s acoustics, especially with the too-fast tempo, made the ensemble sound muddy. The coda was played really presto and the composer’s marvelous combination of excitement, humor and even poignancy was seen from the ensemble but not often heard.

Tchaikovsky’s monumental A Minor Trio, Op. 50, comprised the second half and received a stirring performance that surprisingly didn’t include the usual cuts in the last movement, and especially the fugue variation. Ms. Mutter had unsteady intonation in the first big theme but settled down and with Mr. Harrell didn’t shy away from expressive portamentos. The cellist and violinist didn’t always have the same bowings, odd after so many tour performances of this elegiac Russian piece from 1881.

Mr. Bronfman’s big block chords were heavy handed and he is not colorist (colorists at the piano? Hofmann and Gieseking, and more recently Alicia de Larrocha). However, his playing was expressive and arresting, with the great solo in the first movement Tempo Molto Sostuendo passages and voice leading in the early variations of the Andante con Moto. The Mazurka (Variation 2) was captivating, as was the pedal point for the strings and the delicate treble “music box” piano tinkling in Variation 5.

The music (final variation and coda) ended with instrumental perfection – first appropriately powerful, then gradually subsiding to a lugubrious and ultimately funereal pianissimo. A provocative and suggestive great work, played with compulsion and palpable devotion.

The audience sprang to its feet and demanded three curtain calls, but received no encore from the smiling Trio.

Contributing to this review were Toscha Spalding and Jelly d'Neveu