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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
CHAMBER REVIEW
Mastercard Performance Series / Saturday, October 28, 2017
Miró Quartet (Daniel Ching and William Fedkenheuer, violin; John Largess, viola; Joshua Gindele, cello); Jeffrey Kahane, piano

Miró Quarter and Jeffrey Kahane Oct. 28 (N. Bell Photo)

MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY

by Steve Osborn
Saturday, October 28, 2017

Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the Academy of St. Martin’s in the Fields, Peter Serkin, and several others have been cancelled at the GMC’s two halls: Weill (1,400 seats) and Schroeder (250 seats).

The silence for classical music lovers came to an end on Oct. 28 with a memorable concert in Weill Hall by the Miró Quartet and pianist Jeffrey Kahane, the former conductor of the Santa Rosa Symphony. Kahane has maintained strong ties to Sonoma County, and he proved an ideal performer to help coax fire-weary local residents back into the GMC.

Chamber music concerts in Weill Hall are usually restricted to the ground floor, which is often only half full. For the Miró/Kahane concert, however, almost every one of the 750 available seats was taken. In pre-concert remarks, the GMC’s new executive director, Jacob Yarrow, gave much of the credit to Kahane, who had suggested opening the show to everyone, asking them to “come as they are and pay what they can.” (The box office later confirmed that about one-third of the tickets were complimentary.)

The concert began with five selections from Dvorak’s rarely heard Cypresses for string quartet. The source of the rarity is evident from the piece’s content: 12 “songs without words” adapted from a song cycle written early in Dvorak’s career. Without the overarching narrative supplied by the lyrics, the songs in the instrumental version seem disconnected.

The Miró tried to solve this problem by reading the original lyrics before performing each song. Their solution was only partially successful, however, because they are not trained actors, and their unamplified voices didn’t project well in the large hall. They would have done better to work with a professional actor who could have read the lyrics with drama and volume.

On the other hand, the music was gorgeous. The transparent textures of the songs, coupled with the players’ exquisite sensitivity, allowed the sublime melodies to shine forth with the accompaniment well in the background. All the instruments shared in the melodic line, either in solos or duets. The third song, “When thy sweet glances fall on me,” was exceptionally beautiful, with a languid and ethereal melody that perfectly matched the lovelorn text.

When Kahane entered the stage to perform the Brahms piano quintet, the concert quickly moved from the travails of love to the triumph of the human spirit. Few pieces in the repertoire encompass as much territory as this remarkable quintet, which moves with ease from utmost serenity to unbridled frenzy.

Kahane sat behind the quartet, with the lid of his piano fully open. Because the floor of Weill Hall is only gently raked, he disappeared from view for much of the audience, but he was ubiquitous nonetheless. He interacted with the string players as if he were one of them, never drowning them out or stepping on their lines. The balance among all five players was a model of equanimity.

The ensemble adeptly traded lines and motives, with the prominence shifting repeatedly among the instruments. Everyone seemed fully aware of what their colleagues were playing, especially Kahane, who shifted constantly from foreground to background.

Beyond control of dynamics, the string players achieved remarkable unanimity of sound, playing as one down to the pressure and strokes of their bows. In their and Kahane’s hands, the Brahms became an ever-surprising journey into the deepest possibilities of musical thought. Nothing was predictable, yet everything the performance slowly uncovered seemed inevitable.

During the intermission, the audience exchanged fire stories and detailed their losses, but the mood was upbeat. The second half elevated the mood even more with a sparkling performance of Dvorak’s second piano quintet, a masterpiece on equal footing with the Brahms. In some ways, the Dvorak is the more transcendent of the two, carrying the listener into a realm of boundless joy and festivity.

Dvorak was a violist, and that middle instrument shines brightly throughout the quintet, nowhere more so than in the second movement, a stately dumka (folk ballad). Violist John Largess made the most of his solo opportunities, playing with a deep, rich tone that at times out-deepened the cellist, Joshua Gindele, who often played on his instrument’s upper strings. In contrast, Largess played entire phrases on his lowest string, shifting effortlessly and imperceptibly along its length.

All five musicians played the subsequent furiant (frenzied dance) movement with tremendous energy and agility, careening forward without pause into the final Allegro, an irresistible rondo. Despite the breathtaking speed, nothing was unruly, and all the lines were crystalline, with each player clearly evident. The rock-solid chorale near the end brought the music down to earth for a brief moment before the exhilarating closing bars. The ovation was immediate and sustained.

After being called back on stage a third time, the ensemble performed the last movement of Schumann’s piano quintet, considered the originator of the genre. Unfortunately, the performance was not quite up to the Brahms or Dvorak, perhaps because the movement was taken out of context or insufficiently rehearsed. The blend was muddy at times, and the arch of the narrative was often lost. But the performance was stirring nonetheless, yet more evidence that the GMC is back in full swing.

Reprinted by permission from San Francisco Classical Voice.