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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
Oakmont Concert Series / Thursday, December 11, 2008
Axel Strauss and Friends

CELLISTS SHINE IN OAKMONT SEASON FINALE

by
Monday, December 15, 2008

Violinist Axel Strauss brought four of his favorite chamber musician friends Dec. 11 to Oakmont’s Berger Auditorium in for the final concert of the 18th season. The program opened with Anton Arensky’s Quartet No. 2 in A Minor, Op. 35, No. 2, for violin, viola and two cellos, and concluded with Franz Schubert‘s famous String Quintet in C Major, D. 956, for two violins, viola and two cellos. His colleagues for this concert were violinist Leonie Bot, violist Ben Simon and husband-and-wife cellists Jean-Michel and Dana Putnam Fonteneau.

The Bay Area is rich in fine string players and German-born Strauss is at or near the top of his profession. His violin playing is technically secure, musically nuanced, electric when called for, and he produces a gorgeous sound that always plays to the character and direction of the music. Results can be mixed in concerts based on the “And Friends” format, as unlike pre-formed chamber ensembles that play together on a regular basis, when “friends” get together there is usually less rehearsal time and therefore a greater possibility of a less-than-polished performance. Conversely, the air can be charged with spontaneity and electricity, given the newness of the ensemble. Happily at this concert the latter mostly occurred

Both in style and temperament the Russian Anton Arensky shows considerable affinity to Tchaikovsky. He lived and flourished in Moscow in the last half of the 19th century, and his output was modest. This string quartet, one of two he penned, rarely gets a hearing because its instrumentation does not match that of the traditional quartet of two violins, viola and cello. The dark character of the piece is enhanced by the predominance of lower strings. It is an uneven work, and most who hear it would agree that its middle movement, “Variations on a Theme of Tchaikovsky”, is where its strength lies. Here Arensky masters the theme and variations form, and it seems perfectly constructed, with calibrated use of many of the string instrument’s colorful capabilities: pizzicato, mute, ponticello. While the ensemble was not perfect, the players gave this movement a prismatic and heartfelt reading, and Dana Fonteneau distinguished herself in the elegant principal cello part.

After intermission, the musicians brought their old friend Franz Schubert to the stage, and played his hour-long Quintet about as well as I’ve ever heard it. If this concert was a treat for fans of the cello, the Schubert Quintet adroitly contributed as it contains one of the most beautiful cello duets in the chamber literature. The luscious first-movement theme returns often, to sublime effect. The cellists Fonteneau gave it a tender reading, their sounds beautifully matched. Strauss is a superb leader, and his virtuosity drove this monumental Quintet right through to the last note, prompting an immediate standing ovation from the audience of 200.