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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
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 ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
CHAMBER REVIEW
Mastercard Performance Series / Saturday, November 11, 2017
Tetzlaff Quartet. Christian Tetzlaff and Elizabeth Kufferath, violin; Hanna Weinmeister, viola; Tanja Tetzlaff, cello

Tetzlaff Quartet

TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT

by Terry McNeill
Saturday, November 11, 2017

German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart.

Clarity of ensemble has always been a hallmark of this Quartet, and contrapuntal clarity was in the forefront of their performance of Mozart’s E-Flat Major Quartet, K. 428. All of Mr. Tetzlaff’s trademarks were on display here: small ritards in the high register that drop quickly into decrescendo and chaste phrasing again high up that drops to pianissimo and hands the themes to colleagues. His musical partners were exemplary all night: Elizabeth Kufferath, violin; Hanna Weinmeister, viola; and cellist Tanja Tetzlaff.

Placing Ms. Tetzlaff stage left (unlike the Quartet’s photos and YouTube appearances) gave hefty but precise low string weight to the ensemble, and she played elegantly all evening. The romantic mood of the opening allegro was captured, and the Quartet had impeccable control of pianissimo in the quiet repeated four-note phrases. The andante and menuetto were equally well played, and Mr. Tetzlaff’s spiccato bow was nimble and the contrasting moods of the short trio were perfectly shaped.

The boisterous finale found Mr. and Ms. Tetzlaff in delicious duos with ample virtuosity and Mozartian insight. Always impressive was the way each instrument in the blend could grow the music in intensity, reminiscent of Haydn’s Quartets, from every volume level. It was a brilliant and mature interpretation.

Berg’s two-movement Quartet, Op. 3, closed the first half. This is a complex 20-minute contrapuntal work from 1910, atonal and full of leaps in the melodic lines. Ms. Weinmeister opened the piece with a touching lament and the entering strings used portamento effectively. Much of the playing underscored the shrill aspects of Berg’s music, though the Tetzlaff’s dynamic flexibility and ability to play soft and fading phrase endings diluted some of the strident string tone. Knotty rhythms were mastered in the finale, and Ms., Tetzlaff’s big cello statement in the coda seemed effortless, which of course in this music it was not.

Following intermission Schubert’s G Major Quartet (No. 15, D. 887) comprised the entire second half. It’s the composer’s last and longest quartet, and arguably the most difficult to keep together over its 45-minute duration. Stamina on the Tetzlaff, and certainly some in the audience of 350, is required. It was a wonderful performance and the Tetzlaff didn’t evidence a moment of fatigue. Their opening grabbed attention in a way that was almost orchestral in texture. Viola and Ms. Kufferath’s genteel violin line and tremolos paired with Mr. Tetzlaff’s interjecting notes and phrases to form sharp contrasts – elegiac background and often wild sound flights. The Quartet effortlessly and subtlety changed tempos throughout, surely needs in Schubert’s Quartets.

The scherzo was played at a judicious tempo with a lively but never frivolous charm. Here the composer has written many false cadences, and always he seems to have another idea to present. The lilting waltz theme was enticingly rendered with seductive charm, driving to a fast ending led by Mr. Tetzlaff’s magical bow and fingers. The repeats in the concluding allegro vivace each had a slightly different character, another seemingly standard feature of this ensemble’s magisterial control and technical finish.

Programing the protracted Schubert was a savvy choice, as chamber music aficionados were rewarded with a masterful performance that was in the end spiritual and fully encompassed the composer’s genius.