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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
CHAMBER REVIEW
Green Music Center / Wednesday, June 24, 2015
Jeffrey Kahane and Natasha Paremski, piano; Andrew Shulman, cello; Margaret Batjer, violin; Aloysia Friedmann, viola

Pianist Jeffrey Kahane with Cellist Andrew Schulman June 26 in Schroeder Hall (N. Anderson Photo)

BRAWNY BRAHMS HIGHLIGHTS OPENING CHAMBERFEST PROGRAM IN SCHROEDER

by Terry McNeill
Wednesday, June 24, 2015

Jeffrey Kahane has done it again. After multiple Sonoma County appearances since leaving the Santa Rosa Symphony in 2006, the pianist and conductor has designed a scintillating summer concert series at Sonoma State’s Green Music Center – Chamberfest.

The first of nine concerts in a short five-day span June 24 featured a muscular program of Beethoven and Brahms, with a tiny Bach transcription as a tasty prelude. Beethoven’s early Op. 5 F Major Cello Sonata received a sparkling reading with cellist Andrew Schulman joining Mr. Kahane, the charming introductory dotted rhythm leading into buoyant Allegro. Mr. Kahane pushed the tempo with his signature high-speed (and often muddy) right hand scales. Both the cello and piano lines were dynamically and fluently presented, sometimes declamatory with quick changes of mood, and the concluding Rondo was full of zest. It felt like something already in progress, a kick-up-your-heels gypsy dance. The composer’s creativity with variation was everywhere underscored, and at several places the musicians slowed the tempo to a heartfelt simplicity and then sent the theme over the top in a wild gallop to the end.

It wasn’t a subtle performance but it was thrilling, and the cellist deftly used a small vibrato and rich tone.

In his introductory remarks to the audience reviewing the Festival’s programs, Mr. Kahane commented that the most under-rated composer is early Beethoven, and this Sonata was a prime example.

Following intermission Brahms’ early and burly G Minor Quartet, Op. 25, was played by pianist Natasha Paremski, Margaret Batjer (violin), Mr. Shulman and violist Aloysia Friedmann. If a rough-hewn Brahms performance is desired, this one was sui generis. The sprawling opening Allegro was played to highlight a dark and brooding drama, the majestic and haunting theme returning several times before ending in a whisper.

This first of Brahms’s three piano quartets is perhaps the most popular, as the concluding Rondo is so similar to the admired Hungarian Dances. In the Intermezzo the unusual coloring and delicacy of the strings was beautifully set against each other and the piano line. A passionate love song characterized the Andante where Brahms’ glowing romanticism, later to be more tightly portrayed in the C Minor Quartet of Op. 60, was captivatingly performed. There were syncopated rhythms and a lovely ascending phrase ending the movement.

In the finale the quartet tore into the sectional, dance-like structure with terrific energy and especially in the cadenza where all the themes are combined in polyphony as accurate as Bach’s and as fantastic as Liszt’s. Schroeder Hall’s sound favors big projection and Ms. Paremski’s sonority sporadically covered the strings, even with husky and fast scale passages from Ms. Batjer. The movement was played loud but never coarsely, and it’s that kind of piece.

After a standing ovation all the musicians returned to the stage and took questions from the audience. Mr. Kahane is an old hand at these kinds of sessions, and in general his commentary is witty and urbane.

Gyorgy Kurtag’s arrangement of Bach’s O Lamm Gottes Unschuldig for piano, four hands, past by without much notice save for the organ-like timbre in the instrument’s treble. Mr. Kahane played octaves and fifths to emulate this unique sound, with elegant support by Ms. Paremski in the bass.

Nicki Bell and Sonia Tubridy contributed to this review.