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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 Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Chamber
ADVENTUROUS BACH AND PENDERECKI IN MUTTER-ORKIS WEILL RECITAL
by Terry McNeill
Friday, March 02, 2018
German violinist Anne-Sophie Mutter returned to Weill Hall March 2 in a recital curiously different than her appearance on the same stage several years ago, and also dissimilar to a recent San Francisco concert with a heroic Respighi Sonata performance. On a rainy night before 700 fans Ms. Mutter ...
Chamber
BEETHOVEN'S MAJESTY IN TAKACS QUARTET CONCERT
by Terry McNeill
Sunday, February 25, 2018
Greatness in a single musical composition carried the day Feb. 25 when the Takács String Quartet played Beethoven in Weill Hall. Sweeping aside two first half pieces, the Takács tackled Beethoven’s penultimate Quartet, the monumental C-Sharp Minor, Op. 131, written in 1826. From the first notes (<...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
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.