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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.