Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Mastercard Performance Series / Sunday, February 25, 2018
Takács Quartet. Edward Dusinberre and Károly Schranz, violin; Geraldine Walther, viola; András Fejér, cello. Marc Andre Hamelin, piano

Marc-Andre Hamelin (2nd from Left) and the Takács SQ Feb. 25

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 (adagio, and fugue) from violinist Edward Dusinberre it was clear that a magisterial experience would unfold. In six movements, played without break, a set of curiously formed variations supports a theme which seems to finally “congeal.” The Takács played extended soft passages beautifully, spiced by three and five-note outbursts by cellist András Fejér.

Hallmarks of quartet virtuosity were everywhere in the 31-minute piece: clean attacks and releases, naturally shaped phrasing, chaste ensemble, tempos that paired perfectly with the music, pizzicato in three instruments mixed exactly with a lush theme in the first violin. An example of Takác’s mastery of control came at the end of the demanding E Major presto (section five) where in the final chord repeats two were played legato with a diminuendo, and the third dry and almost silent. Masterful.

The lied phrase leading to the victorious allegro finale was profoundly beautiful. The Takács eloquent performance fixed as always Beethoven as the creator.

Weber’s Langsamer Satz quartet movement opened the concert, a luminous nine-minute farewell by the Viennese composer to saturated harmonies before being seduced by his teacher Schönberg’s radical musical aesthetic. The Quartet captured the thick, wistful music with a luxurious ensemble, hothouse romanticism and a warm cello line foundation.

Pianist Marc-Andre Hamelin joined the group for Dohnanyi’s Quintet, Op. 1. There is much to admire in this work with its easy fluency and broad lyricism. Every commentator since the piece’s 1902 debut cites Brahms’ influence, and of course that is true. There is also some Rubinstein and early Busoni in the writing, evident even in the fleet and thick scherzo that was played with a perfectly gauged ending, all in unisons.

Violist Geraldine Walther and Mr. Hamelin played a beautiful duo beginning the adagio, slow and stately and reminiscent of the opening of the Brahms B Major Piano Trio and bits of Schumann. It was playing of a touching love song, with Mr. Fejér’s low register cello line a sweet majesty. Themes here push to be heard among palpable poetry.

The allegro finale had much lively writing for the piano, and Mr. Hamelin played it convincingly. String ensemble was exemplary, but the piano line, at least with legato playing below mezzo forte, was clouded by the now well-known acoustic deficiencies in Weill. Orchestras and solo voice in the Hall are pellucid and sunny, but the addition of a forceful piano part in chamber music is sonically problematical.

An audience of 300 gave the Takács and Mr. Hamelin loud applause. No encore came after the gripping, spiritual Beethoven performance.