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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
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 Rosaís 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 Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís 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 SaŽns, 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 Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís 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 REVIEW
Music at Oakmont / Thursday, January 10, 2019
Edward Arron, cello; Jeewon Park, piano

Cellist Edward Arron

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 itís 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 pianist Jeewon Park Mendelssohnís charming Op. 17 Variations were elegantly played with increasing energy and virtuosity in the first five variations. Ms. Parkís fluent sale passages combined with the cellistís expressive rhythms in fine ensemble, with the sixth variation a sublime and exalted song of harmonic richness where Mr. Arron held a long mid-register A note over the theme in the piano part. An exquisite reading.

Equally fine playing continued with Fallaís Suite Popular EspaŮola, originally a series of six songs transcribed for a cello-piano duo in the early 1920s. A Spanish flair is heard throughout the 14-minute work, and Mr. Arron altered his sound from the Mendelssohn, adopting a drier tone and less intense vibrato. Highlights of the playing were ďNanaĒ (No. 2) and ďAsturianaĒ (No. 5), the first a captivating slow lament with the cello in the high register, the second wavering between major and minor in lovely contrast. In ďCanciůnĒ the cellist deftly leaned into notes for effect, and repeated the short figurations with judicious care. There were hints in the music of Fallaís tuneful ballets.

Following the Falla Mr. Arron left the stage to Ms. Park and Chopinís G Minor Ballade, Op. 23. The accepted performance approach to this work is orchestral sonority and bravado in the Slavic tradition (Hofmannís titanic 1937 Met Opera House version) but on this afternoon in the small Berger Auditorium Ms. Park surprisingly adopted a restrained interpretation with slow tempos, extended fermatas and modest drama. I suspect this novel realization of Chopinís unfolding musical story found approval in many of the audience of 150, but the poky tempos lacked momentum and power at points, including the right-hand octave passages at the return of the second theme (though they were clearly played) and the long single note and octave runs in both hands in the coda. Romantic traditions in repeats, octave doublings and inner voices were outside of the pianistís interest.

Brahmsí F Major Op. 99 Sonata occupied the entire second half, and the Arron-Park duo gave it the muscular momentum the work demands. Some of Ms. Parkís best playing of the afternoon came in this piece, with admirable textural clarity in the opening allegro vivace, and Mr. Arronís masterful bowing technique at times generating a rumbling sound, as he alternated bow pressure in phrases. Fine ensemble characterized the adagio with itís heart-on-sleeve melody and tiny artful instrumental crescendos and decrescendos.

The scherzo received an energetic reading with seamless connections between the wildly contrasting sections, and wonderful soft playing. The finale had the requisite majesty of conception, and its overall sprightly nature was helped by Ms. Park using a seco touch at times. Mr. Arronís playing here clothed the always-vigorous Brahmsian themes in a beguiling lyricism. Again, he commands a decisive package of virtuosity and imagination.

The performance drew a standing ovation and one encore, Schumannís StŁcke Im Volkston, Op. 102, No. 5. It was an enchanting lullaby, delicate and warmly played.

Listeners that love the great Brahms Sonata can hear it locally again Feb. 10, when Amit Peled plays both Brahms Sonatas at 3 p.m. in the Occidental Performing Arts Center in the Redwood Arts Council series.