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Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
CHAMBER REVIEW
Green Music Center / Sunday, February 28, 2016
Cypress String Quartet Cecily Ward and Tom Stone,violin; Ethan Filner, viola; Jennifer Kloetzel, cello

Cypress String Quartet in Schroeder Feb. 28

VALEDICTORY CYPRESS QUARTET CONCERT IN SCHROEDER

by Terry McNeill
Sunday, February 28, 2016

Parting can be such sweet sorrow, but better than either was the Cypress String Quartet’s farewell North Bay concert Feb. 28 in Schroeder. The group will disband in June in their San Francisco hometown.

Violinist Tom Stone’s remarks to the audience of 175 about Haydn set the stage for sure-footed performance of the C Major Quartet, Op. 76, No. 3. Schroeder’s acoustics seemed to favor cellist Jennifer Kloetzel’s sound, even the drone effects, but throughout the opening Allegro and in the long duo for two violins in the Adagio every instrument carried well and blended.

In the Variations each instrument has a solo in turn, then bursts forth the composer’s resplendent Austrian/German national hymn. The Minuetto was played with a judicious tempo, with many delicate details and spicatto bowings. Violinists Cecily Ward and Mr. Stone traded fast descending scales in the finale and the Cypress fashioned a reading of the “Emperor” Quartet of rich string color and rhythmic precision. It was a splendid blend of Haydn’s elegance and simple earthiness.

Glazunov wrote five Novelettes for string quartet, and the three played to close the first half were Allegretto ala spagnuola, Interludium and Orientale. There were well played but passed without much notice, even juxtaposing the pizzicato dances of the first and the sorrowful and pensive second. Violist Ethan Filner, seated at stage right, played solos in themes that were reminiscent of Vaughan Williams music. The whirling short motives of the Orientale were the most effective, rustic to the last bowed note in a unison attack. It was an odd program choice, but clearly relished by the Cypress.

In their 20 years together the Cypress has played through the Beethoven cycle many times, and the choice of the B-Flat Quartet (Op. 130) was an opportunity to say goodbye to the North Bay with a work of monumental power and interest. The 1826 piece is in six movements, with an optional finale, and Ms. Kloetzel described to the audience how the Quartet approaches Beethoven, and why the Grosse Fuge last movement was chosen for performance over the alternative Allegro.

Both the opening Adagio and the finale appear to be struggles between two instincts of an individual – the imploring instinct and the instinct of violence. They played the Adagio in a more lyrical manner than anticipated, with many small phrases starting to go astray but never actually doing it. The skittish B Minor Scherzo was quickly over, and the following Andante was played fancifully and almost intimately.
I thought both the Danza Tedesca and the E-Flat Major cavatina movements were performed exquisitely, the tranquil and restrained emotion phrases beautifully shaped. Capturing here the essence of Beethoven’s spiritual energy was for me the highlight of the afternoon, and the Cypress’ deft changes in tempo were both natural and critical to this luminescent music.

The great Fugue invites comparison with the Op. 106 Piano Sonata Fugue, as both have a slow but never timid middle section between the often-strident outer parts. But the string fugue is harder to follow, even with ample thematic projection from Ms. Ward and Mr. Filner cutting through the aural din, pedal point in the cello and minimal vibrato all around. This movement lasted 14 minutes, not too long but since 1826 still demanding a listener’s attentive ear and exploring mind.

Surprisingly, the Cypress responded to an ovation with one encore, which I think was Suk’s Venetian Gondola Song. And a sweet poem without words it was, a valedictory gift capping a masterful concert.

Sonia Morse Tubridy contributed to this review.