DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Violinist Jennifer Koh
INSPIRATIONAL BEETHOVEN AND BRAHMS HIGHLIGHT SECOND CHAMBERFEST CONCERT
by Sonia Tubridy
Thursday, June 25, 2015
Chamberfest’s second program in Schroeder Hall June 25, extravagantly organized by Jeffrey Kahane, once again gave the audience extraordinary programming and performances, uniting Bach, Beethoven and Brahms in meaningful and thought provoking juxtapositions.
In a continuation of choices from Program One, the opening piece was a second piano duet arrangement by the contemporary Hungarian composer Gyorgi Kurtag.. Mr. Kahane and Natasha Paremski played Bach's sonatina from Cantata 106, Gotteszeit its die Allerbeste Zeit, originally scored for two viola da gambas and two alto recorders. Placing the gamba parts in the bass and the recorders in the upper voices, this beautifully crafted arrangement set the stage for immortal music and worlds behind the ordinary. As Mr. Kahane remarked tho the audience, here "brevity belies profundity".
Next came Beethoven's Sonata for violin and piano in C minor, Op.30, No. 2, played by Jennifer Koh and Mr. Kahane, and was introduced by the pianist with explanations about Beethoven in 1802 on the cusp of his early and middle periods and his increasing incurable deafness. In a small village outside Vienna he wrote the heartbreaking and noble Heiligenstadt Testament, a letter to his family, friends and generations to come. In this letter he describes his agony and despair, his loneliness and humiliation as he loses the one sense which was his best, and he cannot let others know of this loss. Only "art held me back from death…art and virtue." As Mr. Kahane read Beethoven's plea "do not forget me" the emotion in Kahane's voice matched what was in our hearts.
One of the finest moments in the performance of the Sonata occurred in the simple six note opening motive, a slight lingering on the first note, giving the fast figure following it a sense of inevitable falling. The musical collaboration of violin and piano was exciting and nuanced, bursting with energy and then impish and light, a constant trading of thoughts and emotions between the instruments. This music cannot be listened to passively. The performers swept us up into their impassioned journey. The second movement starts with one of Beethoven's exquisite melodies, simple and classical but supported by transforming harmonies which infuse the simplicity with depth and power. The violin and piano complemented each other and Ms. Koh was often able to provide great beauty with single notes above the piano phrases. The third movement (scherzo) contained violent outbursts, dancing, laughing and humor, The composer as a great jokester. The finale was breathtakingly powerful and intense. The violin and piano gave the maximum commitment to passion, pain and to life force as Beethoven was able to capture in sound. Few could remain unmoved by the Intellectual and emotional abundance of this sonata and this performance. There was an immediate standing ovation.
Following the intermission, Brahms’ Trio, Op. 40, for Horn, Violin and Piano was presented by Margaret Batjer, violin, hornist Benjamin Jaber and Mr. Kahane. This is a unique combination of instruments, never tried before and seldom after Brahms. The composer was 31 when writing the Trio (the same age as Beethoven at the time of his Op. 30) and had suffered the tragedy of the death of his mother. One of the most beloved pieces of chamber music, this Trio explores the many colors possible when juxtaposing violin and horn with piano. The noble warm sound of the French horn can fill a hall and be all around without a specific source, and it can be heard as immediate or as coming from great distances. The violin, in this context, becomes a clear, specific voice as if etching lines on a colored background. The piano, as always, can be anything, from delicate harp or bell sounds to thunder and full orchestra.
The first movement starts with layers of displaced beats and fragments of searching melody which finds its way into moments of ecstatic connection between the voices and then dies away again. Rich lush sounds carried the sense of yearning and undercurrents of dark feelings. This was followed by the driving scherzo, a galloping hunt in which the horn calls and urges ever onward. The tempo was fast and tumbled with cascades of sound. The third movement, adagio mesto, is the heart of this trio, clearly written in mourning for his mother. Dark low strummed chords evoke tragic harps and the three instruments sob, yearn, despair and find outlets for tragic emotions in bursts of glorious sounds but also quiet acceptance and peace. Beautiful ensemble playing and solo lines made this performance outstanding. The fourth movement was brimming with energy and a tempo so fast that many in the audience were left on the edge of our seats, overwhelmed with the rush of this chase and exciting rhythmical tricks. It swept into a powerful finale and received a standing ovation.
Following the music, all the performers gathered on stage for an informative question and answer session ranging from specifics of particular instruments to each musician's inspiration to follow their musical path. Family, teachers and remarkable musicians and mentors heard at an early age gave these instrumentalists their passion for their much valued art of music.
Nicki Bell contributed to this review.