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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHAMBER REVIEW
Mastercard Performance Series / Friday, March 02, 2018
Anne-Sophie Mutter, violin; Lambert Orkis, piano

Mutter-Orkis Duo in Weill March 2 (J. McNeill Photo)

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 and her wonderful decades-long pianist Lambert Orkis chose a program that was inquisitive but also inconclusive. The latter came at the beginning of each half, all Brahms, and began the short Sonatensatz movement from the F.A.E. Sonata of 1853. It received a lively reading but the violinist was not note perfect, but quickly found her stride and the ending trills were crystalline. All through the recital, save for the final work, she played without score. It was a model opening but passed without being persuasive.

Brahms’ A Major Sonata followed intermission, last heard in Sonoma County years ago in a crackling Joseph Edelberg and Corrick Brown performance in Newman Hall. Here it was a small-scaled reading of the bucolic piece from 1886, one of the composer’s most lyrical and beguiling chamber compositions. Although the andante tranquillo second movement, with the well known pizzicato section, was played briskly, but Ms. Mutter was in no rush to get anywhere, and allowed the enchanting themes to unfold naturally. Mr. Orkis’ adjusted his piano sound, often overly reticent, and never covered the violin part. All was sweet and a little underplayed.

If the Brahms works were somewhat “proforma,” the duo’s choice of the Bach D Minor solo Partita (BWV 1004) and Penderecki’s 2nd Sonata were strikingly adventurous. Bach clearly was on fire when he wrote the five-part dance Partita during the Cöthen years, and Ms. Mutter provided a reading that focused on balance and contrasting tempos rather than the incandescence of Gil Shaham in Weill Hall three years ago.

She was most captivating in the quiet sections, and bow control in soft passages was supreme. She deftly built many small climaxes and though her volume was not large, the violin soared when the music demanded it. Trills and double stops were perfection. The gigue was played wonderfully and of course presto, a reminder of similar speed in a long ago Bach gigue (G Minor Sonata) by Hilary Hahn in Wells. Few musical things give me more instant pleasure than a headlong but always-controlled presto violin dash through a Bach gigue.

Ms. Mutter concluded with an extended sonic climax after four short sculpted phrases, and an extra-long fermata. An immediate standing ovation ensued.

It took courage to end the program with the Penderecki, a knotty piece written in 2000 for Ms. Mutter and Mr. Orkis. The violinist has championed contemporary string music, and in her 32-minute journey through the sprawling music (she used the score) seemingly every facet of violin virtuosity was on display: slashing bow strokes, short motives laced by long dissonant phrases, wispy inserted themes and plentiful small changes in articulation. Mr. Orkis used pedal point in many places, sometimes loud and sometimes soft.

In what must have been a North Coast debut, the Sonata alternates mystery with frenzy, and the violinist was up to every challenge, ending with a long piercing phrase in the stratosphere of the e string. A sonic odyssey indeed.

Applause was long and loud, and generated a single encore of Elman's transcription of Schubert’s Ständchen (Serenade), D. 957. Ms. Mutter played it with exemplary bow mastery in the character of the Schubert “landler,” albeit chock full of double and triple stops, Viennese charm and delicate expressive changes in pitch.