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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
CHAMBER REVIEW
Redwood Arts Council / Saturday, April 14, 2018
Boris Andrionov, cello; Dimitri Illarionov, guitar

Dmitri Illarnionov and Boris Andrionov

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 were mostly new to North Coast, and the program was mostly all arcane transcriptions. It was the final event in RAC’s 38th season.

Cellist Boris Andrionov has appeared at a previous RAC program in Occidental, with the virtuoso pianist Alexander Kobrin, and this evening joined guitarist Dmitri Illarionov for novel instrumental transcriptions. Transcriptions? Sure, and the selections were full of sonic variety, novel instrumental color and consummate virtuosity.

The duo played without score the entire evening and began with Bach’s C Minor Cello Suite, BWV 1011, using the two instruments solo in some of the six sections, or in a harmonious mix. The large church has a high ceiling and lots of carpeting and heavy oak pews, and thus minimal reverberation. But acoustics were excellent, as the sound is direct and clear. It was a fetching transcription highlighted by Mr. Andrionov’s non-legato arpeggios in the allemande. It was quickly clear that both player’s virtuosity and compositional wizardry would dominate the evening. These are sprightly dance movements with Mr. Illiaronov’s solo courante playing beguiling. Tempos were just right, judicious in the sarabande and slow and yearning in the two-parte gavotte.

Mr. Illarionov altered the program, playing Albéniz’ Granada instead of the announced Tarrega Carnaval of Venice Variations on a Paganini theme, but the substitution was welcome and splendidly performed. Guitar praise can go no higher. His two-finger legato supporting the single note theme was mesmerizing.

Falla’s Suite Popular Española was originally written for soprano and voice, and was transcribed by violinist Paul Kochanski for strings, and finally by the evening’s guitarist. There is much high register cello playing, and sounds of a Zarzuela dance and even a mimic of a soprano voice. Spanish rhythms abound and vibrato, mostly absent in the Bach, returned. A sensual work brilliantly performed.

Picking out highlights in a concert full of them is risky, but I might nominate the four Russian Romances that began the second half. Glinka and Boris Sheremetev were the only familiar composers, and the music was at turns melancholic in the “I Met You” (a captivating long decrescendo and crescendo by Mr. Andrionov), and a suave “salonstücke” dance in “The Gate” with cutesy pauses. Gaiety and sadness were constantly juxtaposed.

Four Moldavian Folk songs in transcription followed. The rhythms and “dervish” effects produced by both instruments were irresistible. The tarantella dance seemed to be played on top of the strings, and full of strange and rich color.

Two solos came next, Mr. Illarionov playing a non-Piazzolla “Tango en Skaï” (Roland Dyens) and Mr. Andrionov answered with an under six-minute scintillating performance of Giovanni Sollima’s cello showpiece “Lamentatio.” It was exciting and used instrument body slapping, long delicious slides, rapid bow and at one moment even the lament sound of the cellist’s own voice.

One might think that the audience of 150 would tire of many short works (23 at this time) and so much associated virtuosity, but that wasn’t the case, and two contrasting Piazzolla works concluded the recital: the slow and lovely “Tanti Anni Prima” and the pungent “La Muerte del Angel.” Both received the same sovereign instrumental command that characterized this sensational concert of unique string transcriptions.