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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 / 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.