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Recital
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...
Symphony
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...
Recital
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...
Recital
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...
Chamber
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...
Recital
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...
Symphony
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,...
Symphony
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...
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...
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.