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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
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.