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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
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...
CHAMBER REVIEW
Mastercard Performance Series / Saturday, February 18, 2017
Tetzlaff-Vogt Duo. Christian Tetzlaff, violin; Lars Vogt, piano

Lars Vogt (left) and Christian Tetzlaff Savoring Weill Hall Applause Feb. 18

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 is an insistent and often meandering Sonata that demands a lot from the listener, but even more so from a virtuoso executant. Though there are references to the composer’s Piano Sonata of three years later, the Bartok stands by itself in atonality and invention. Mr. Tetzlaff caught the fantasy and rhythmic complexity of the opening molto moderato with accurate slides up to a held note, and long phrases mixed in with a formidable portamento and pizzicato technique. There were no easy tunes to grasp, no legato phrasing and counterpoint.

Sonic outbursts continued in the concluding allegretto with a beginning toccata that was played on top of the strings, often without vibrato, and with solid foundation playing from pianist Lars Vogt. The intangible themes cried out from both instruments, sometimes shrilly, sometimes with surprisingly powerful playing but always under impeccable control. A few in the small Weill audience were seen to lose interest or were simply overwhelmed, but many (perhaps some violinists?) were entranced by the provocative performance, and gave the duo a standing ovation.

Mozart’s F Major Sonata, K. 377, followed the Bartok and was oil on troubled waters. Smiles appeared in the audience as the familiar music unfolded with swirling scales from Mr. Vogt and appropriately fast tempos. It was an outsized reading throughout, and in the variations of the andante each version had a different character, and Mr. Tetzlaff deftly conveyed a slow dance and then rich tone in the charming theme.

Beethoven’s C minor Sonata (Op. 30, No. 2) opened the program with strong instrumental contrasts and outsized, if often clipped, phrases. Mr. Tetzlaff’s subtle control of dynamics was especially present in the lovely adagio where every register of his violin sounded pure, and intonation dead on. At one point he stroked twice across all four strings with the backside of his hand, producing a beguiling chordal effect. The chirpy scherzo led to a concluding allegro presto of substantial momentum, where color and articulation from Mr. Vogt took a back seat to often raw but exciting “middle period” Beethoven playing.

Schubert’s brilliant B Minor Rondo (D. 895) ended the program in heated salonstücke romp that was lengthy and repetitive, as Schubert often is, but also brought the audience again to its feet in applause.

The one encore was a special choice, the Ballada from Janácek’s 1913 Violin Sonata. Here Mr. Tetzlaff and Mr. Vogt explored the fluid chromatic runs with deliberate tempos and a long line that produced for the first time during the evening’s recital calming and shimmering effects. This was ensemble playing of a high order.

In some ways the selected works were a curious mix, neither for connoisseurs nor the gallery. But there was no mistaking Mr. Tetzlaff’s singular achievement and consummate command.