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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...
CHAMBER REVIEW
Mastercard Performance Series / Friday, November 13, 2015
Juilliard String Quartet: Joseph Lin and Ronald Copes, violin; Roger Tapping, viola; Joel Krosnick, cello

Juilliard String Quartet

STERLING QUARTET MUSIC FROM THE JUILLIARD IN WEILL

by Terry McNeill
Friday, November 13, 2015

Mozart’s C Minor Quartet, K. 465, has had the sobriquet “dissonant” almost since its 1785 composition, but the word really doesn’t seem to apply. It’s a buoyant work, after an initial, deep melancholy and minor key clashes are overcome.

In their Nov. 13 Weill Hall concert the Juilliard String Quartet made the Mozart the evening’s cornerstone before an appreciative audience of 700 chamber music fans. All four movements received a reading of meticulous attention to attack, phrasing and instrumental balance. The opening Adagio-Allegro was played at a quick tempo (after the introductory musical pessimism) with an elegant cello line from long-time JSQ member Joel Krosnick. The featherweight ending led to a light vibrato plaintive Andante Cantabile movement in a sometime instrumental question and answer mode.

The finale had an impish quality and first violinist Joseph Lin played the big themes with vigor and a bright but never forced tone. The Juilliard played this from score, as they did the entire program.

Beginning the first half was Schubert’s Quartettstatz (D. 703), a one-movement curiosity that in its ten-minute playing time might benefit with additional sections, but this performance stood well on its own. The opening swelling tremolos in all four instruments gave way to conciliatory themes and slimmed down (for Schubert) and often clipped phrases. The string blend was pure and beguiling.

Debussy’s single quartet from 1893 comprised the entire second half, and of course all was in order for this seasoned ensemble. Atmospheric beauty was present throughout the four movements, and the harmonic territory of the Andantino, doucement expressif and the pizzicato writing in the second movement must have been novel when the piece was first heard. The plucking was almost shimmering. There was never any hurry to get anywhere in this performance, and in the Andantino violist Roger Tapping played beautifully, giving and taking back a rich theme with Mr. Lin. In places the string vibrato was deftly adjusted to heighten contrast. It was a shaded and subdued playing, a watercolor of sound.

Clean lines were heard in the finale, despite the richness of the writing and the chaste fugato from Mr. Krosnick that leads upwards to the ostinato lines of his three colleagues. The captivating Debussy brought a standing ovation and Mr. Lin announced one encore, the third movement from Schubert’s D Minor Quartet, “Death and the Maiden.” This Scherzo is a wild dance that demands quick virtuosity at every turn, but this sterling group was its master as they were throughout the concert.

Nicki Bell contributed to this review.