Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
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 i...
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 Afiara’s credentials translate into solid music-making is an open question, and remained so after their Occidental performance. While they showed flashes of brilliance in Bartok’s String Quartet No. 3, their musical light flickered somewhat in Mozart’s K. 428, and dimmed considerably in Beethoven’s Op. 130.

Let’s start at the beginning. Warmly welcomed by another full house crammed into the church’s knee-capping pews, the Afiara got right down to business with an engaging reading of Mozart’s 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 Mozart’s 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, “It’s filled with unusual sounds, but it’s only 15 minutes long, so please bear with us.” Surely by now, more than 80 years after the quartet’s 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 Bartok’s 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 Beethoven’s Op. 130, which concludes with the mighty Grosse Fuge. Right from the start, the texture was muddy, and the first violinist’s intonation went south. The quartet played the notes, but they didn’t 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 quartet’s 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 hadn’t 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.