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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.