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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
CHAMBER REVIEW
Music at Oakmont / Thursday, January 12, 2017
Edward Arron, cello; Jeewon Park, piano

Jeewon Park and Edward Arron

FAST BUT NOT ALWAYS FURIOUS IN OAKMONT CELLO RECITAL

by Terry McNeill
Thursday, January 12, 2017

New England-based cellist Edward Arron played an encore recital Jan. 12 at Music at Oakmont’s Berger Auditorium that was a in almost every way a success and surely an audience delight.

Beginning with Bach’s G Major Sonata gamba the cellist and pianist Jeewon Park played the work that rolls along without a great deal of contrast or even excitement. Here the string vibrato is minimal and Mr. Arron underscored long held notes prior to the two Allegro movements, and juxtaposing plaintive and quiet themes with the finale’s jaunty and etude-style parts. Though a workmanlike performance, this Sonata (unlike the epic Six Suites for Cello) passed without much notice.

Not so for the Barber C Minor Sonata, Op. 6, which closed the concert’s half. The cellist gave Barber’s youthful work a passionate performance with a big sound, swelling richly on notes and stating the sweet second theme with wide vibrato and compelling bottom end sonority. Playing in the Adagio was surprisingly fast with a Spiccato bow and a bantamweight ending.

The finale Allegro Appassionato was played with a broad sweep but was also a bit ruminating. Ms. Park’s pianism had ample articulation and balances with the cello were exemplary. The music exploits the entire range of the cello and Mr. Arron’s strong but when necessary delicate bow arm control conquered all.

Pärt’s strange but compelling Spiegel im Spiegel found Ms. Park playing repeated ascending triad notes over a pedal point cello and starkly held cello notes. This was a fascinating performance of a quasi-minimalist work, mostly in pianissimo with many one-step note progressions and soft triad chords and minimal vibrato. The many deceptive cadences and the piano line in the high treble (“dripping water sound”) and the pauses between cello phrases added up to a unique sonic and perhaps spiritual experience. At the end the sound faded to absolute zero!

Berger’s infamous noisy HVAC system impinged on Pärt’s super-subtle composition, but it was a cold day and the 160 people in the Hall were rightly mesmerized by the 1978 work originally written for violin and piano.

Concluding the concert was Mendelssohn’s D Major Sonata, Op. 58, arguably with the Beethoven A Major the most played classical cello sonata. In a turnabout the duo turned the epic first movement into hash by choosing a tempo the music, or at least their playing of it, could not support. The tempo was so fast that the expected big ritard at the piano’s insistent four repeated chords (at the point in the 78 era where the limited time recording stopped, as in the Feuerman version) was avoided, and Mr. Arron’s comprehensive technique was fully stretched.

Just as critical was Ms. Park’s inability at the chosen tempo to articulate scale passages, resulting is constant blurring and by playing on top of the keys missing the excitement that fast and clean pianism creates. Brilliance in music isn’t a matter of speed but of clarity.

Clarity returned in the Allegretto with fine Pizzicato technique and exceptionally subtle phrasing and controlled spontaneity, and the following Adagio’s flowing choral-like melody had rich string color.
The brilliant Molto Allegro movement was of course fast but had shape with section ritards and driving momentum, with Ms. Park an assertive partner.

A standing ovation generated the duo’s return to the stage and a unique question that Mr. Arron posed to his appreciative audience. He said, “Is there time for one more?” In a half-century of concert reviewing I have never heard an artist say anything like this, as usually encores are quickly identified or simply played without identification.

What came was a Mendelssohn’s D Major Song Without Words, Op. 109, in a luminous reading with chaste tone and perfectly sculpted phrasing. Praise for this encore performance could not be higher.