Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 9, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
RECITAL REVIEW
Green Music Center / Sunday, May 14, 2017
Benjamin Bellman, violin; Orion Weiss, piano

Benjamin Beilman and Orion Weiss May 14 in Schroeder Hall

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 the mix the Janácek and Bartok No. 2 Sonatas were the core of a demanding afternoon, with the former perhaps the most memorable. Written in 1922 with echoes of the composer’s two string quartets, the four-movement piece reflects anxiety and fear from the period, and Mr. Beilman made the most of the often-confusing changes in rhythm and mood. He was a master of soft phrase endings, sometimes with whispering codicils. The raucous contrasts in the opening con moto turned into bucolic lyricism in the ballada, a movement heard February in Christian Tetzlaff’s fine Weill recital.

In the third movement allegretto Mr. Beilman’s interpretation became snarling and pushy, and Mr. Weiss’s playing was insistent and propulsive. The playing in the adagio finale was more of the same, Mr. Beilman’s slashing and thrusting phrases having the required hard-edged tone, juxtaposed with a plaintive theme in both the piano and violin lines. The diminuendo at the conclusion was beautifully played. It was high-level virtuosity from the duo.

Following intermission Bartok’s tumultuous work was heard, and even for the prepared listener it can be a difficult task to embrace. Don’t look for long melodic lines in the two movements, as the Hungarian master was interested in unique instrumental effects in a rustic fabric of sound. This is complex music with concentrated fantasy and is mostly atonal, with many slides, portamento, melodic pizzicato and numerous short sections. The violinist and pianist met every challenge including menacing toccata-like playing in the final allegretto where Mr. Beilman seemed to often alter his usual razor-sharp pitch for calculated effects. His high register pianissimo was captivating, and it ended the thrilling but confounding work composed in the same year as the Janácek.

The recital opened with chaste and balanced interpretation of Mozart’s B-Flat Major Sonata, K. 378. Both musicians were in no rush and the tempos seemed just right, and the tentative opening violin phrase moved to a subtle crescendo. Clearly Mr. Beilman can make changes and swells in volume sound easily natural. Nothing was forced and each thematic line was distinct and perfectly “Mozartian.”

Schubert’s 11-minute B Minor Rondo, a favorite of violinists, sounded pretty tame after the Bartok, with alternating jolly and peasant sections ending in several deceptive cadences. It’s Schubert in a husky mood and the duo’s virtuosity plumbed every nuance in the piece.

An ovation recalled the duo to the stage for a one encore, Kreisler’s chestnut Liebeslied (Love’s Sorrows). It was perfectly played but perhaps without the last ounce of Viennese whipped cream that the composer’s recordings capture.