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Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
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 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.