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Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
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...
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...
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
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
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.