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Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
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.