Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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 Stateís Green Music Center Ė 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. Beethovenís 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 composerís 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 wasnít 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 Festivalís programs, Mr. Kahane commented that the most under-rated composer is early Beethoven, and this Sonata was a prime example.

Following intermission Brahmsí 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 Brahmsís 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 Brahmsí 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 Bachís and as fantastic as Lisztís. Schroeder Hallís sound favors big projection and Ms. Paremskiís sonority sporadically covered the strings, even with husky and fast scale passages from Ms. Batjer. The movement was played loud but never coarsely, and itís 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 Kurtagís arrangement of Bachís O Lamm Gottes Unschuldig for piano, four hands, past by without much notice save for the organ-like timbre in the instrumentís 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.