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STUNNING LINCOLN CENTER CONCERT LAUNCHES FIFTH WEILL SEASON
by Philip Beard
Saturday, October 01, 2016
Happy times in a packed Weill Hall Oct. 1: The insouciant, irrepressible, immensely talented trumpeter / bandleader Wynton Marsalis and his powerful, polished Lincoln Center Jazz Orchestra opened Weill’s fifth season with a superb program of jazz classics and classics-to-be that set a high bar for t...
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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...
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ANGUISH AND TRIUMPH IN MENDOCINO FESTIVAL'S BIG TENT
by Kayleen Asbo
Sunday, July 10, 2016
The Mendocino Music Festival is highlighting Beethoven this summer, and July 10’s program in the tent could have appropriately borrowed the subtitle from Jan Swafford’s 2014 biography of the composer, Anguish and Triumph. The Festival’s second classical concert paired two Beethoven works wit...
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ARCANE ARENSKY TRIO HIGHLIGHTS NAVARRO'S SEASON OPENING CONCERT IN SCHROEDER
by Terry McNeill
Sunday, October 04, 2015
One would have thought that the glitz surrounding Lang Lang’s 101 Pianists Foundation program Oct. 4 in Weill would have upstaged chamber music at the same time in nearby Schroeder Hall. Not to worry, as the Trio Navarro continues to perform sometimes-neglected gems from the trio literature with a ...
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TRUMPET ON FIRE
by Philip Beard
Friday, September 11, 2015
Chris Botti’s show at SSU’s Green Music Center Sept. 11 was a real barnburner. The highly acclaimed, much-traveled trumpeter--his group is on the road over 300 days a year, playing always to large audiences--was making his second appearance at Weill Hall and Lawn, two years after his sold-out first ...
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GRAND GESTURES IN VIEAUX'S WEILL HALL GUITAR RECITAL
by Gary Digman
Friday, October 18, 2013
Weill Hall is an imposing building situated on the Sonoma State campus, and still has that “new car smell” about it. I was looking forward to hearing guitarist Jason Vieaux’s performance October 18, not only to hear the artist but to experience the acoustics of the hall about which I have been heari...
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BOTTI'S BAND TRUMPETS HIGH-WIRE DERRING DO IN SUMMER-ENDING WEILL CONCERT
by Philip Beard
Sunday, August 25, 2013
No question about it: Weill Hall was the happening place to be on Aug. 25 with trumpeter Chris Botti and his entourage delivering two and a half hours of jazzy, rocky, funky, high-wire derring-do to an audience that loved every minute of it. Almost. The performance was stunning both figuratively an...
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LATE WINTER TURNS TO SPRING IN CREATIVE ARTS SERIES CONCERT
by Michael J. Mello
Sunday, February 24, 2013
A concert of Renaissance and Celtic songs for voice, lute and recorder was presented by soprano and lutenist Doris Williams with the assistance of recorder virtuoso Claudia Liliana Gantivar and mandolinist Mike Bell. The Feb. 24 event in Santa Rosa’s Resurrection Parish Church was part of the Creat...
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MESSIAEN PIANO PRELUDES HIGHLIGHT SMITH RECITAL IN SANTA ROSA
by Beth Zucchino
Sunday, January 27, 2013
Marin Pianist Jean Alexis Smith played a stunning recital Jan. 27 in the first 2013 concert for the Creative Arts Series. In remarks to the Resurrection Parish audience, the pianist explained that although her program has a range of styles from Baroque to Contemporary, all the composers involved wr...
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TANAKA PLAYS AUTHORATIVE MOZART IN CREATIVE ARTS SERIES FORTEPIANO RECITAL
by Richard Wayland
Sunday, April 29, 2012
A pleasant surprise greeted me April 29 when I attended a fortepiano recital at Resurrection Parish in Santa Rosa. The venue was simple, modern, beautiful, and seating was comfortable. The décor reminded me of Pi, a Parisian artist of the fifties. The performer for the season’s final Creative A...
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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.