Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
CHAMBER REVIEW
Green Music Center / Saturday, March 05, 2016
Tanya Tomkins, cello; Eric Zivian, fortepiano

Cellist Tanya Tomkins

VAL MOON MINI FESTIVAL ENDS WITH SPIRITUAL BEETHOVEN SONATAS

by Sonia Morse Tubridy
Saturday, March 05, 2016

In the final of four chamber music concerts by Valley of the Moon Festival musicians, three of Beethoven's iconic cello and piano sonatas were played March 5 to an appreciative audience in Schroeder Hall.

Cellist Tanya Tomkins and fortepianist Eric Zivian performed on historic instruments appropriate to the Classic and Romantic eras. Built in Berkeley in the 1980s, Mr. Zivian's instrument is modeled on a 1796 piano and with a wooden frame is closer to a harpsichord than to a modern piano. The 1811 cello with gut strings allows excellent articulation and the two instruments match and blend well in addition to providing impressive clarity of sound. The three sonatas, Opus 5, No. 2 in G Minor, Opus 102, No. 2 in D Major, and the A Major, Op. 69, are from respectively Beethoven's early, late and middle periods. The performers gave spoken historical and biographical background to these pieces and created a warm informal atmosphere for the concert.

Composed by the young Beethoven who was traveling frequently and making a name for himself as a pianist, composer and improviser, the G Minor Sonata opened the program. The piano part is virtuosic but starts quietly allowing the cello part to grow out of the hushed piano themes. After a very long silence, a surprise burst into Allegro/Presto juxtaposes strength and fragility, lyricism and drama. The musicians conversed and sang through their instruments, always sensitive and collaborating with improvisatory freshness. The separations between performers, composer and listeners were cast away and replaced by a unified musical experience. The Rondo movement was full of humor and delightful rubato touches. It was mock serious and then playful, sweeping passages propelling wild joy to an exuberant ending. Notable were the clear accompanying figures on the cello and variety of color in tone. The fortepiano upper register was bell-like and the bass sometimes growled and twanged in loud passages to great effect.

The following piece on the program is actually the last of Beethoven's cello/piano sonatas, and here piano and cello are composed as equal partners. The Allegro con brio starts and startles with upward shooting figures. There are moments of calm and then rapid Baroque-like sixteenth note passages. Not always easy to understand, the music wanders the landscape of modern sounds in a "progressive and adventurous" fashion. This is the world of his Opus 130 string quartet.

The Adagio is heartbreaking in its beauty and tragedy. Cello and piano phrases evoked murmurs and cries of the soul with wonderful expressiveness. A major lyrical section flows and consoles until a suspenseful slipping downward harmonically leads through a questioning fragment to the finale, a strange complex fugue. Here Beethoven looks to the future and beyond. The two instruments weave and tease, shocking the ear with dissonances and complex cross rhythms that are often jazzy and frequently baffling. It was a masterful rendition, played with a combination of lightness and power.

In the A major Sonata after the intermission the opening cello theme with its rising fifth and weaving elegance was a superb legato followed by piano flourishes, the instruments trading ideas and emotions. The cello sometimes sounded like a viola and pizzicato passages were lively and resonant. The two virtuosi went deep and rose from mystical and mysterious moments to heroism. The Scherzo was crisp and very rhythmical, played with extended offbeat phrases and lovely pizzicato effects at the end.

Finally the Allegro vivace completed this mini Beethoven Festival with romantically lyrical themes and flying passages for both instruments creating palpable audience excitement. After searching, yearning, some hopelessness and doubt, the key of A major returns gloriously at the exciting end and Beethoven emerges from turbulent waters triumphant.

Joanna Bramel Young contributed to this review