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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
Santa Rosa Concert Association / Sunday, January 11, 2009
Philippe Quint

Philippe Quint

TOUR DE FORCE

by Terry McNeill
Sunday, January 11, 2009

Violinist Philippe Quint’s third appearance on the Santa Rosa Concert Association stage Jan. 11 was indeed the charm, easily surpassing his two previous recitals in the Wells Fargo Center. He displayed both consummate virtuosity and audience appeal.

In a program divided equally between familiar classical works and arcane selections, Quint and pianist Dmitry Cogan were an ideal pair, opening with an amiable reading of Mozart’s E Minor Sonata, K. 304. Good balance was the order of the day here, with the extended unison playing in the Allegro absolutely seamless. The tranquility continued in Beethoven’s F Major Sonata, Op. 24, the ever-popular “Spring.” The playing had lift throughout, and Quint’s intonation was precise. In the lovely Adagio molto espressivo, many violinists sound like they are playing a sequence of phrases that start and stop. In contrast, Quint sculpted one long breathtaking phrase. The Rondo finale lacked drama, the musicians opting for a serene dialogue of question and answer, stressing joy over momentum. Both the Mozart and Beethoven were played from score.

Finishing the first half was the Brahms Sonatensatz in C Minor, a seldom-performed scherzo that is similar to much of the great master’s D Minor Sonata. Here again the union of the instruments was nearly ideal, though Cogan is an accompanist wholly deferential to the soloist, without ever mounting ringing forte. One wonders how he would sound in the piano part of one of the repertoire’s more muscular sonatas, such as the Strauss, Franck, Respighi or Beethoven’s “Kreutzer.” That said, Cogan’s rhythm is rock solid and his ear for instrumental color is uncanny. What more could a violinist want?

Three of the Corigliano Caprices from the movie score “Red Violin” opened the second half, preceded by a charming story told by Quint concerning a telephone conversation with the composer regarding a bedside lamp. These virtuoso works, Nos. 2, 4, and 5, demonstrated Quint’s steady control of the bow and his marvelous slides. The final Caprice was a tour de force of extraordinary fingerboard skill and daring. In Bloch’s “Nigun” from the Baal Shem Suite, Quint used a much broader vibrato, the notes of the tender ending easily carrying to the top balcony row.

Two fast-paced pieces concluded the program, led by Tchaikovsky’s sprightly “Valse Scherzo.” Quint’s spiccato bow danced around the lyrical theme, with his string tone occasionally darkening for telling effect. Nothing was tentative here, or in the “Tzigane” showpiece of Ravel. Early in the latter, the climactic high G on the G string was taken cleanly with a sharp attack and no “slithering” up to the note. Virtuoso stuff, played with abandon and just the right measure of pyrotechnics. A large portion of the audience stood and shouted.

Time dictated hearing just the first of the encores, a Brahms Hungarian Dance, No. 5 in the set of 21. Here again the deft passagework and bow speed of the young Russian were impressive, and later I am told some Kreisler and the “Meditation from Thais” were offered to loud acclaim.

Philippe Quint and Dmitry Cogan are an imaginative partnership. They mounted the most impressive violin-and-piano recital in the North Bay concert season.

Violinist Daniel Greenhouse collaborated in this review