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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
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...
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.