Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
CHAMBER REVIEW
Music at Oakmont / Thursday, December 10, 2015
Frank Almond, violin; William Wolfram, piano

Violinist Frank Almond

BRAWNEY ARTISTRY IN ALMOND-WOLFRAM MUSIC AT OAKMONT RECITAL

by Terry McNeill
Thursday, December 10, 2015

Scintillating string playing has always been a feature of the Music at Oakmont concerts, but Dec. 10’s recital by violinist Frank Almond and pianist William Wolfram was exceptionally virtuosic and musically convincing.

The cornerstone of the performance came in the second half with a brawny reading of a titular work in the violin repertoire, Beethoven’s dramatic A Major Sonata, Op. 47 (Kreutzer). Playing without score, as he did the entire recital, Mr. Almond managed the fast tempo broken thirds and sixths in the opening Adagio – Presto with aplomb, and surmounted the technical hurdles in the graceful slow movement of trills and lyrical lightness. The piece’s famous first measures before the pianist enters, where there is string movement from the second to third chord (both in thirds), and then thee pianist with broken sixth chords, were deftly played. It’s not easy to do.

In the Andante there was some note blurring in quick passages but the violinist’s playing was always clear, with alternating seconds, at the top of the instrument’s register. Mr. Wolfram had an amazing trill technique here, even and easily swelling from piano to forte. The finale was “off to the races” in tempo, making the most of the composer’s dazzling inventiveness and mastery.

Over 45 minutes, this “Kreutzer” with all the repeats was held beautifully together by the duo and was a potent musical achievement.

In older days violin recitals frequently began with a middle drawer baroque piece, sometimes Tartini’s Devil’s Trill or Didone Abbandonata, or the Vitali Chaconne, or some Geminiani. Mr. Almond performed the Tartini G Minor “Devil’s Trill,” a 14-minute work with a mostly continuo part for the piano. I think the Kreisler cadenza was selected, and the performance was at turns virtuosic and even splashy with pithy small slides and sometimes comely phrasing.

Before intermission two disparate pieces were played, one arguably the greatest single work for the solo violin, and the other a late romantic sonata by an unknown Swedish composer, Amanda Röntgen-Maier. From the late 1880s, the Sonata in B Minor has hints of Rubinstein, Grieg and especially Schumann, but easily stands on its own. Mr. Almond underscored a slow wistfulness in the Andantino – Allegrettoand his use of pizzicato moving into the coda with a delicate soft bow was captivating. Grieg’s music, especially the great C Minor Sonata, seems to influence the finale, and Mr. Wolfram gave its surging passion powerful pianism. The violinist was less persuasive in the last forceful bars that needed a more soaring violin line. In sum, a very good reading of an attractive Sonata that needs more concert exposure.

Mr. Almond then played the justly iconic Bach Chaconne (from the D minor Partita, BWV 1004), and it seemed too easy to compare his performance with Gil Shaham’s March transversal of all the solo Bach Sonatas and Partitas in nearby Weill Hall. Easy because Mr. Shaham was consistently fast with tempos, and Mr. Almond was uniformly fast in phrasing. Perhaps it was simply the artist’s mood on a rainy Thursday and the compressed succinct scales and agogics were certainly convincing in their way. But this great music can profit with taking a little more time before transitions in the variations, and adopting more elasticity in note values.

Mr. Almond was a witty and informative speaker to the 200 in Berger Auditorium, describing each work and charmingly referring to Robert Hayden, Music at Oakmont’s founder and the star of a birthday reception following in the hall after the recital. The artist also spoke of the relationship of his Stradivarius violin, called the “Lipinski,” to the compositions on the program. There is speculation that Carl Lipinski (1790-1861) played all the works in the program (save for the Röntgen-Maier Sonata) with this violin.

Clara Schumann’s Romance from Op. 22 was the one encore, played flawlessly with wide vibrato and luminous tone from both performers.

This was clearly one of the finest violin recitals in the North Bay in many years.

Bay area violinist Bronislaw Rabin contributed to this review.