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Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
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...
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...
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
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
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.