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Recital
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...
Symphony
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
SYMPHONY REVIEW
Green Music Center / Sunday, June 28, 2015
Musicians include: Jeffrey Kahane, Jennifer Koh, Margaret Batjer, Benjamin Beilman, Elizabeth Prior, Peter Lloyd, Laura Reynolds, Russ deLuna, Leo Tsui, Douglas Brown, Benjamin Jaber, Danielle Kuhlmann, Robert deMaine, Aloysia Friedmann, Daniel Ching, William Fedkenhuer, John Largess, Joshua Gindele, Elise Shop Henry, Sandy Hughes and Joseph Edelberg

Pianist/Harpsichordist Jeffrey Kahane

BRANDENBURGS A SPIRITUAL GIFT IN FINAL CHAMBERFEST CONCERT

by Terry McNeill
Sunday, June 28, 2015

“Well, you should have been there.” A trite saying used too often by concertgoers? Sure. But surely it was the appropriate adage for the final Chamberfest concert June 28 in Sonoma State’s Weill Hall.

Capping a nine-event series mostly in Schroeder Hall, Jeffrey Kahane led ensembles of up to 20 musicians in an extraordinary traversal of Bach’s complete Brandenburg Concertos. Written in the small Thuringia town of Cöthen in 1721, the six are multi-movement works of instrumental complexity, underpinned in each by harpsichord continuo and strong bass and cello lines. The program notes referred to this complexity: A presentation of all concertos in a single evening requires a performing group of incredible depth, with individual musicians who are comfortable as both featured soloists and ensemble players.

As the works progressed during the first half (No. 1 in F Major, No. 3 in G Major, No. 5 in D Major) I found myself thinking at each ending, “That was sensational; that was my favorite,” only to uncover a new favorite when hearing the next Concerto. In the famous harpsichord solo in the D Major’s first movement Mr. Kahane played elegantly but as usual for him did something novel. At the section’s conclusion where the finger pyrotechnics and fast trills are ending, the music seems to call for a ritard and phrase broadening, an intimate invitation for the re-entry of ensemble. That’s the way it’s usually played, but he never broke tempo and moved straight to the finish with just a slight nod to his colleagues.

Throughout the evening thrilling playing abounded, especially from violinists Benjamin Bielman and Margaret Batjer, oboists Ashley Ertz and Laura Reynolds, flutists Sandy Hughes and Elise Shope Henry (Concerto No. 4) and trumpeter David Washburn in the concluding No. 2 Concerto. Some of the instruments were not of the Baroque era (oboes for example) but Mr. Washburn played the piercing Baroque trumpet with consummate skill, even able to integrate his luminous sound into the sonic texture when needed.

All through the program string vibrato was present but of low volume and short duration, even in the extended solo violin passages by Bach veteran Jennifer Koh in Concerto No. 1, and in the viola playing of Elizabeth Prior and Aloysia Friedmann in No. 6 that began the second half. In Number 6 the lovely Adagio was performed romantically but with a Baroque sensibility, as were the lament-like slow movements of No. 5 (Affettuoso) and No. 4 (Andante). In the latter Mr. Bielman carried the main theme with blistering scale playing and subtle phrase turns and slides.

The frequent interior-movement ensembles were captivating: cellist Andrew Shulman and violinist Daniel Ching joined by oboe and flute; a contrapuntal viola duo in No. 6; the harpsichord introduction with arpeggios in No. 3, the artist handing off a distant theme to the strings; and Ms. Batjer’s entrancing duo with Ms. Hughes in the Allegro of No. 5.

Preceding the final Concerto Mr. Kahane addressed the audience about the power of Bach’s music to overcome the often unspeakable political and social events of our day, and the spiritual force contained in the compositions of the featured Chamberfest composers: Bach, Beethoven and Brahms.

As at the end of the first part, the rollicking No. 6 produced a tornado of applause, and all the musicians were called to a line at the front of the stage. One audience member brought a single red rose for Mr. Kahane.

As the audience of 700 left the Hall there wasn’t the usual ecstatic chatter about the music, but something of a glow of happiness on many faces. This had been a seminal evening, due of course to the producer Zarin Mehta and his staff, the wonderful musicians, the vision of Jeffrey Kahane, but mostly to a man dead for 265 years. Bach.