Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 Saëns, 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 Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s 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...
Symphony
AMERICAN CLASSICS SPARKLE UNDER KAHANE’S BATON
by Steve Osborn
Saturday, March 16, 2019
Jeffrey Kahane, the Santa Rosa Symphony’s former conductor, returned to the Weill Hall podium on Saturday night, and the results were expectedly wonderful. The concert of American classics was by turns playful (Gershwin’s “An American in Paris”), emotional (Barber’s violin concerto) and triumphant (...
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
CHAMBER REVIEW
Green Music Center / Friday, June 26, 2015
Natasha Paremski, piano; Malcolm Matthews, organ

Miró String Quartet June 26 in Schroeder Hall Playing Beethoven (N. Anderson Photo)

STERLING BHAHMS AND BEETHOVEN WITH AN ADDITIONAL B IN JUNE 26 SCHROEDER CONCERT

by Nicki Bell and Sonia Tubridy
Friday, June 26, 2015

Chamberfest’s June 26 evening concert began not with music but with informative and insightful remarks by Festival Artistic Director Jeffrey Kahane.

He spoke of Busoni, one of the handful of greatest pianists of the 20th Century, a teacher and composer whose name was linked with Bach through salient transcriptions. The short transcription that Mr. Kahane played, Ich ruf zu dir Herr (I call to the Lord) seemed appropriate to recent events in Charleston, S. C., and functioned as a prelude to the evening, and set a tone and mood of serious contemplation.

Brahms’ E Minor Sonata, Op. 38, came next with Mr. Kahane at the Schroeder Hall piano and Los Angeles-based cellist Andrew Shulman. This is truly a duo sonata and was inspired by parts of Bach’s “Art of the Fugue.” The first movement is dark and melancholy on the whole, the cello setting the tone and the piano quietly responding. It was played with rich tone, careful instrumental balance and sensitivity. The movement’s E-Major ending is powerful in a quiet way, and in the last 12 bars Mr. Kahane played octaves that descended into a mesmerizing repose.

In the second movement there is a wistful minuet with an elegant trio, the first four notes of the minuet becoming the motive connection. There is no slow movement. In the finale there is a powerful free fugue that was played viscerally, accelerating to the end. All through the work the piano and cello were constantly changing registers, one above and then the other, creating an intimate fusing. These artists understand elegant phrasing.

Beethoven’s C Major Quartet, Op. 59, No. 3 concluded the concert, and was faultlessly performed by the Miró Quartet. The three Razumovsky quartets are bigger in form, longer and more innovative that Beethoven’s six Quartets of Op. 18, but the Miró (violinists Daniel Ching and William Fedkenheuer, cellist Joshua Gindele and violists John Largess) were more than up to the challenge.

Harkening back to Mozart’s “Dissonant” Quartet, the first movement was played quite slowly, then into a flurry of action – a punctuating plucking in the cello, much additional string plucking and then rich legato. Crispness and speed with small back and forth bow movements were a marvel in the Allegro molto finale, and phrase leadership seemed to be constantly passed around the group. They communicate with eyes, foreheads, body angles and facial expressions. The hall’s acoustics gave voice to every note, nuance and tone shading. It was vivid and at the same time an intimate Beethoven performance, spontaneous and intelligent. The audience at the last chord jumped to their feet, beaming faces and hoots and hollers everywhere.

Most of the Chamberfest concerts had a Q and A following the performance and this session showcased the Miró’s sense of humor and how they articulate music verbally. One questioner asked about the Quartet’s name (it was founded at the Oberlin Conservatory of Music) and indeed it came from an emotional association with the paintings of Catalan artist Joan Miró. They feel that bringing oneself into the creation of music based on what went before is the foundation for the new and is what the Miró has set out to do.