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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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
CHAMBER REVIEW
Music at Oakmont / Thursday, October 20, 2016
Trio Valtorna. Ida Kavafian, violin; David Jolley, horn; Gilles Vonsattel, piano

Violinist Ida Kavafian

TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT

by Terry McNeill
Thursday, October 20, 2016

New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal.

But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that brought the audience of 150 and violinist Ida Kavafian, hornist David Jolley and pianist Gilles Yonsattel most happily together. The opening Andante was played with special emphasis on the varied return (three times) to the luscious main theme, and the intricate balancing of the five harmonic keys. It was never a strongly dramatic reading but more svelte and lyrical, even in the second climax. The lively Scherzo was fiery and reminded me of the fast sections of the composer’s C Minor Piano Quartet. Controlled velocity.

Brahms’ haunting Adagio was given a slow and moving interpretation, bass heavy at times, and Ms. Kavafian’s exposed accuracy of pitch was perfection. Mr. Jolley came to the fore in the Allegro finale with judicious quick note runs and subtle short crescendos and decrescendos. One the whole the performance favored ensemble and lyricism over sustained drama.

Ending the first half was a performance of Ravel’s G Major Violin Sonata, played by Ms. Kavafian from score with warm pianism from Mr. Vonsattel. But it’s not a “warm” piece, and the composition from 1927 has lots of stylistic contradictions. Here Ms. Kavafian was in no hurry to get anywhere and used in the opening Allegretto moderate vibrato and a chaste, sunny bottom sound. Mr. Vonsattel’s touch was everywhere adroit. The ending played off seconds with a long held note in the violin with the piano softly following. Beguiling and convincing.

The bluesy Moderato was played in a light march of broken rhythms with jaunty violin pizzicatos and various jazzy inflections and offbeat accents. It’s difficult to bring out the careless “swing” of Ravel’s polytonalities but both musicians seemed to have an intuitive connection with the jazz idiom.

Fine duo playing continued into the Perpetuum Mobile finale with Mr. Vonstattel playing powerfully sharp sound “jabs” and the exploration of a little music from the preceding movements. It was athletic playing at a quick pace that highlighted Ravel’s free rein of cascading ideas and juxtaposition of instrumental texture.

John Harbison’s 1985 Twilight Music for Horn, Violin and Piano opened the program following Mr. Jolley’s remarks regarding the piece, and an odd reference to Brahms’ ensemble with the same instruments. Ms. Kavafian’s violin line was often at the top of its register, and the piece abounds in frantic horn and piano phrases and fragmentary, insistent and jumpy rhythms. The playing was always capable but the lasting effect of the music on the Berger audience was in doubt, and the Harrison work past without much notice.

For me the most memorable part of “Twilight” was near the end when the Valtorna slowed the pace in a major key with unison violin and horn lines, creating a clean and mellow sound absent from most of the 18-minute composition.