Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
CHAMBER REVIEW
PianoSonoma - Vino and Vibrato Series / Tuesday, July 26, 2016
Julia Glenn, violin; Mika Sasaki, Michael Shinn, Jessica Chow Shinn, Peter Dugan, piano; Emi Ferguson, flute; Kara Sainz, mezzo-soprano

Violinist Julia Glenn

PIANOSONOMA SERIES OPENS WITH ECHT GERMAN ROMANTICISM

by Terry McNeill
Tuesday, July 26, 2016

PianoSonoma’s second season in SSU’s Schroeder Hall began July 26 with a mixed program under the series appellation “Vino & Vibrato.” The set of student workshops and concerts, headed by Juilliard School pianists Jessica and Michael Shinn, puts artists in residence in close contact with Sonoma County adult musicians for two weeks each summer.

Titled a “Love Triangle” (Clara and Robert Schumann with Brahms), Clara Schumann’s Three Romances for Violin and Piano, Op. 22, had a shaky opening. Violinist Julia Glenn’s intonation wavered and the thematic projection in the soaring melancholy of the Andante was tentative. Clear note taking in the Allegretto was seldom clear, but her best playing came in the final Agitato’s light lyricism, and Ms. Glenn leaned gracefully into some notes with palpable effect.

An 11-minute interlude work from Brahms, his piano transcription for four hands from Robert Schumann’s E-Flat Major Quartet, Op. 47, (Andante only) was played by the Shinns. Ms. Shin was segundo and the arching phrases, lovely counterpoint and poignant sadness of the super-romantic music was vivid and chaste. Mr. Shinn noted to the audience that the work was Brahms’ best love song for Clara, but that gift could also be the Andante from the Op. 60 C Minor Piano Quartet.

Pianist Mika Sasaki played well with forceful rolling chords in the final Romance, and continued admirable pianism with two sets of variations on a Robert Schumann theme from his Op. 99 Bunte Blätter. First came Clara’s Op. 20, and Ms. Sasaki’s tempos were never rushed and she played with a subtle touch, though over pedaling at times made the left-hand line muddy. The slower variations and the concluding arpeggios were lovely.

Brahms’ Op 9 Variations on the same theme is far removed from the composer’s virtuosic Handel Variations, and Ms. Sasaki played 12 of the written 16. Few other composers (Bizet, Rubinstein) at this time were writing formal variations for piano, and the pianist made a good case for the 1854 work with ruminating themes, a boisterous repeated-note variation and a catchy dance variation. The music had a far off feel with the pianist playing strong bass chords before in the last variation slowing down the tempo to elegant effect.

Following intermission mezzo-soprano Kara Sainz joined pianist Peter Dugan in three sets of songs: three from Brahms and two each by Clara and Robert. Clara’s Liebst du um Schonheit and Liebeszauber were performed well but the better known Brahms and Robert Schumann works overshadowed them. The big “Wie Melodien” (Op. 105, No. 1) was verbally introduced by Mr. Duggan, and his clean distinctive piano sound melded well with Ms. Sainz’s supple voice and excellent German diction.

Ms. Sainz’ slow steady voice sounded comely in the well-known “Die Mainacht” (Op. 43, No. 2), but lacked the last bit of warmth in the biggest climaxes of “Meine Leibe ist grun” (My love is Green), Op. 65, No. 5.

The concert’s last offering, the Robert Schumann songs, was a fitting end. Ms. Sainz flattened (presumably by artistic design) some notes in phrases in “Er, der Herrlichste von allen,” from the cycle Frauenliebe und Leben, a seminal work for mezzo. Here Mr. Dugan’s playing at places covered the singer, but was in perfect balance for the operatic “Widmung” from the cycle Myrthen, Op. 25. Some of the raw vocal power and color needed in this song was absent, but perhaps Liszt’s two piano transcriptions of “Widmung” are too much in mind, and defer the beauty of this celebrated song from a salutary mezzo.

Most of the 80 people in the hall rose in a short ovation.