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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 / 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.