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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 Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís 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 Countyís 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 Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís 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. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
CHAMBER REVIEW
Redwood Arts Council / Saturday, January 17, 2009
Afiara String Quartet

The Afiara String Quartet

TWO STEPS FORWARD, ONE STEP BACK

by Steve Osborn
Saturday, January 17, 2009

Every string quartet has to start somewhere. For the Afiara String Quartet, that somewhere includes the Occidental Community Church, where they performed on Jan. 17.

The Afiara is quite young and relatively new, having formed at the San Francisco Conservatory in 2006. Blessed with impeccable academic credentials, they are currently teaching assistants to the Alexander String Quartet at San Francisco State University.

Whether the Afiaraís credentials translate into solid music-making is an open question, and remained so after their Occidental performance. While they showed flashes of brilliance in Bartokís String Quartet No. 3, their musical light flickered somewhat in Mozartís K. 428, and dimmed considerably in Beethovenís Op. 130.

Letís start at the beginning. Warmly welcomed by another full house crammed into the churchís knee-capping pews, the Afiara got right down to business with an engaging reading of Mozartís K. 428, the third of the six string quartets he dedicated to Joseph Haydn. They displayed an excellent blend in the Allegro first movement, with well-connected notes and a wide dynamic range. The pleasing blend continued into the luxurious Andante of the second movement, enhanced by matching vibratos and a lush sound.

The third movement, alas, began with a timid attack, weakened all the more by a dragging tempo. What should have been a Minuet became more of a foot stomp, and the previously distinctive texture turned to mush. Fortunately, the players rallied in the last movement, investing Mozartís operatic writing with some genuine emotion.

Next up was Bartok No. 3. Oddly, the violist gave a somewhat condescending introduction to the piece, along the lines of, ďItís filled with unusual sounds, but itís only 15 minutes long, so please bear with us.Ē Surely by now, more than 80 years after the quartetís premiere, audiences can enjoy this masterpiece without a preparatory lecture.

The performance, in any event, was absolutely riveting. From the opening glissandos to the ringing unisons, the Afiara produced a beautiful sound that powerfully evoked Bartokís native landscape. One could almost see the Hungarian plains, with their constantly buzzing insects and foreboding skies. At one point, the quartet produced an all-encompassing vault of sound, with the cellist serving as foundation, the middle instruments as sides, and the first violin soaring above. The range of effects, from resonant pizzicatos to spine-tingling ponticellos, increased the density and variety of the sonic mass, which more than filled the little church.

It seemed like a hard performance to top, and it was. After an overly long intermission with yet another introduction, the Afiara launched into the original version of Beethovenís Op. 130, which concludes with the mighty Grosse Fuge. Right from the start, the texture was muddy, and the first violinistís intonation went south. The quartet played the notes, but they didnít seem to have figured out an interpretation. The phrasing was indistinct, the shape elusive.

The connections between the six movements of Op. 130 were further diminished by the quartetís constant tuning and retuning. Instead of the coherent masterpiece it is, the piece ended up sounding like a dance suite. Although the dances were occasionally sprightly, they were most often ponderous and slow. The playing perked up in the Grosse Fuge, particularly in the initial entries, where each instrument forged a distinctive voice. But after a while the ensemble faltered, and the four musicians wandered apart, searching for their musical glue.

At the end, one wished the Afiara hadnít taken on such an ambitious program. There are plenty of compositions that might be better suited to their talents and insight. Late Beethoven is a tough place to start.