DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
The Borromeo String Quartet
ISLANDS IN THE STREAM
by Steve Osborn
Saturday, February 23, 2008
The Borromean Islands consist of three small islands and two islets in Lake Maggiore, near the town of Stresa, in northern Italy. In this beautiful location almost 20 years ago, four young musicians from the Curtis Institute decided to form a string quartet. They settled on the serendipitous name of Borromeo, a reference not only to the islands but also to the illustrious Italian family that has owned most of the outcroppings since the fourteenth century.
"Borromeo" has four syllables that blend together seamlessly to form a single word that seems to glide off the tongue, free of any glottal stops or harsh consonants. Likewise, the four players of the Borromeo String Quartet blend together to create a sound that is unequalled in its unanimity, fluidity, and grace. Their performance for the Russian River Chamber Music series on Feb. 23 was nothing short of magnificent, one of the best concerts I've ever heard.
The four members of the quartet--only two of whom are from the original group--present a striking image on the stage. The first and second violins, both men, sit on piano benches, a seating option normally reserved for cellists. The first violin, Nicholas Kitchen, of average build and height, nearly blocks the view of the rail-thin and youthful second, Kristopher Tong. The female contingent sits in ordinary chairs on the other side of the stage, with the intensely expressive violist Mai Motobuchi on the outside and the implacable cellist Yeesun Kim near the center of the action.
The concert opened with Beethoven's Opus 18, number 3, perhaps the most virtuosic of his early quartets, with a fiendishly difficult first-violin part. Kitchen dashed off his opening runs without breaking a sweat, but attention soon focused on the violist Motobuchi, who leaned into the center of the quartet, her eyes peeled and ever-widening, a gaze from which nothing escaped. Swaying back, forth, in, and out, she placed her instrument's complementary lines right between the soaring violins and the solid cello. She plays an extra-wide viola that produces a distinctive sound, neither shrill nor booming. It was a perfect match to her colleagues: a polyphony of tone as well as range.
Every aspect of the Beethoven was superb, from the beautiful legato in the second movement, to the elegance of the third, and the breathtaking pace of the last. The most distinctive feature, however, was the outstanding blend. Every part could be heard, with each player laying back or coming forward as the music required. The sforzandos and subito pianos were played to maximum dramatic effect, and the dynamics throughout were harnessed to a compelling narrative line. Beethoven's early quartets capture the fervor of youth, and all four players reflected that spirit, none more so than Tong, who literally threw himself into the part, at times rocking back on his bench with such force that one hoped he wouldn't fall over.
The genius of Beethoven carried over into the next piece, an extraordinary string quartet by the contemporary American composer Pierre Jalbert, born in 1967. Composed in 1995, when Jalbert was still in his twenties, the quartet is equal parts Jimi Hendrix, ethereal harmonics, and unusual glass-rod bowing. As explained by first-violinist Kitchen in a helpful introduction, the composition won the first annual Borromeo Quartet award from Copland House, a center for new music north of New York City. Kitchen described the Jalbert quartet as "very natural music" that reflects the composer's culture and upbringing. The first movement is "car horn music": when you're stuck in a traffic jam, your best option is to enjoy the honks. The second movement, marked "barbaric, driving; scherzando," is inspired by Hendrix; and the third is a hymn, complete with glass rods.
The performance was all of the above and more. The first movement did indeed evoke car horns; but it also offered the opposite, in the form of an absolute pianissimo fortified by an unerring unanimity of sound. For the second movement, the players obeyed Hendrix's injunction to "move over Rover, and let Jimi take over." A spectacular viola solo was followed by extended trills from all players above a solid rock-like beat. The range of sound was remarkable, as was the level of energy sustained throughout.
After the palpable intensity of the second movement, the third offered welcome sonic relief. It began not with the quartet per se but rather with the sound of rain falling heavily on the roof. This normally unwelcome intrusion merely added to the cornucopia of sound subsequently produced by the players. Harmonics appeared again, along with the unearthly glass rods; but the predominant sound was the gorgeous unanimity of tone and the perfect blend of all four parts. Jalbert is clearly a composer of great talent, and he has found a strong advocate in the Borromeo Quartet.
The second half consisted of Schumann's quartet in A minor, a real showcase for the viola, which gets to start most of the melodies and plays in almost every bar. It was Schumann, after all, who wrote one of the few great viola pieces (the M'rchenbilder), and the dark-toned instrument is often reflective of his tortured soul.
Every movement was great, but the galloping horses of the second-movement scherzo were particularly impressive, as was the haunting cello solo in the third. Matters came to a head in the final movement, with its mercurial moods and its manic-depressive pace. Both violinists dug into their solos, playing with unbridled passion and energy. The final section was a genuine revelation. If ever a quartet offered a window into a composer's soul, this was it.
The instantaneous standing ovation was followed by a pleasant reception at the Flying Goat, in downtown Healdsburg. A better evening of music and festivities is hard to imagine. Russian River Chamber Music, led by artistic director Gary McLaughlin, is to be commended for their efforts to bring great musicians to Sonoma County. In this case, the musicians were world-class.