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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...
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 ...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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.