Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
OTHER REVIEW
Mendocino Music Festival / Thursday, July 21, 2016
Susan Waterfall, pianist and lecturer

Tener Brian Thorsett

LATE BEETHOVEN EXPLORED AT MMF CONCERT IN PRESTON HALL

by Paula Mulligan
Thursday, July 21, 2016

The Mendocino Music Festival performance in Preston Hall July 22 was titled “Late Beethoven,” and was the final presentation in the tribute to the composer that was part of this year’s Festival.  Pianist Susan Waterfall has been giving a series of lecture dealing with Beethoven’s life and music, and the final event concentrated on the works he produced in the last fourteen years of his life.

Beginning the program was tenor Brian Thorsett with pianist Miles Graber performing the cycle of six songs, An die ferne Geliebte. The lyrics express the composer’s feelings of loneliness and rejection, but finally evolve to a resolution that leaves him forever devoted but accepting his fate.   Mr. Thorsett has a fine lyrical tenor voice that never shows strain, and his voice floats easily in his upper range and descends with full sonority into the upper register of a baritone.  In addition his performance was infused with tender feeling and wistfulness that perfectly suited the text and music.

The E Major Piano Sonata (Op. 109) written in 1820, and was  beautifully played by Ms. Waterfall, after an enlightening verbal introduction by the performer which seemed helpful to audience to understand the music and its relevance to that period of the composer’s life.  It was a performance of renunciation, resignation and finally acceptance.  Ms. Waterfall‘s elegant and passionate interpretation showed the turbulence and conflict of two battling themes that describe the impossible relationship the composer longed for. Even as the work resolves itself into acceptance, it is not without the scowl and growl in the left hand line that merges with the sweet remembrance of what is no more.   

The final work was one of the famous “Late Quartets” that Beethoven wrote in the last two and a half years of his life.  The Peregrine Quartet chose the A Minor Quartet, Op. 132. The work is in four movements, beginning with a modified sonata form Allegro leading without interruption into the second movement. The mellow opening note from cellist Burke Schuchmann was immediately followed with the layered buildup from Alexander Volonts’ remarkable viola tone, then Tingting Gu’s gentle but insistent second violin, and finally topped with Tammie Dyer’s silvery upper register violin sound, light flexible and airy.  Ms Dyer illustrates that one can lead and guide a chamber ensemble without relying on volume and dominance, but rather on a gentle and profoundly moving sound that guides her fellow musicians into a unity.    The insistent phrase in this first movement is passed around to each member of the quartet  and is repeated in two recapitulations. 

The second movement has a similar plaintive motif that is repeated throughout, and the inner voices carry the smooth flowing line with ornaments above from the first violin and comments from the cello below.  The playing of the second violin and viola are often not in the forefront but they are the bonding glue that holds everything together. Ms. Gu’s sound is just as authoritative, yet with a different tonal quality than Ms. Dyer’s. Her subtly accented entrances made each inner phrase stand out.  Mr. Volonts viola has a large and magnificent sound and he showed admirable restraint and unleashed the instrument’s full power only in the angry fortissimo passages, which created a powerful dramatic contrast to the more subtle and wistful parts of the 1825 work.

Beethoven wrote the third movement as a “Holy Thanksgiving for his healing” after a near death experience.  The sound here is somber, transparent and almost sacred.  The birdlike exchanges between the first and second violins floated above the viola and cello’s pizzicato punctuation. The dancelike opening of the final Allegro Appassionato showed the skill of the musicians with clean attacks, wonderfully synchronized pauses, and  passion with restraint.  It is good to be reminded that the silences in music are often as important as the music itself. 

The late Beethoven quartets are complex and challenging, and the Peregrine more than met the challenge for a deeply satisfying concert experience.