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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
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 Espańola 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 Skaď” (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.