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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
Sporing Lake Village Classical Music Series / Friday, March 08, 2019
Florestan Trio. Hamilton Cheifetz, cello; Janet Guggenheim, piano; Carol Sindell, violin

J. Guggenheim, C. Sindell and Hamilton Cheifetz March 8 at Spring Lake Village

FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT

by Terry McNeill
Friday, March 08, 2019

Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility.

Four short pieces made up the first half, beginning with Handel’s G Minor Passacaglia for violin and cello in an 1897 arrangement by Johan Halvorsen. The variations were briskly played with much pizzicato and high register violin sound from Carol Sindell. Catalan cellist Gaspar Cassadó’s transcription of the intermezzo from Granados’ Goyescas followed, which cellist Hamilton Cheifetz announced was a piece familiar to him for decades, but only recently learned. Mr. Cheifetz’ tone was round over pianist Janet Guggenheim’s tremolos in the bass, and the juxtaposition of instrumental sonority was fetching.

Mr. Cheifetz introduced the Haydn Divertimento (arr. Piatigorsky) by speaking about his teacher Janos Starker, and the three section work began with a slow adagio rich in bottom register cello sound. The concluding allegro was played vigorously and with a lilting character. Ms. Guggenheim was a fluent and attentive pianist in this sparkling music.

Mendelssohn’s ever-popular D Minor Trio, Op. 49, was the concert’s chief work, and received a reading with a range of moods. Slow arpeggios in the piano part supported the opening melodious theme from Mr. Cheifetz and the music was alternatively melancholy and dramatic, though the violin part was not prominent and not always clear. Ensemble in the andante’s heart-on-sleeve was excellent. Surprisingly Ms. Guggenheim found some inner voices in the yearning romanticism, but as throughout the 1839 work little interest was shown in extended ritards.

The scherzo always has an “only Mendelssohn could have written this” effect, and the Florestan played it very well with small murmurs of appreciation from the audience. Musical momentum carried into the dance-like finale but here clarity was cloudy as the piano part tended to overwhelm the strings, especially when the violin needed more sonic projection. Phrasing was conventional and the attractive second theme was warm and compelling. It was a muscular interpretation of the Mendelssohn first Trio that at the same time was tastefully orthodox.

Prior to the Mendelssohn Ms. Sindell and Ms. Guggenheim played the John Williams theme from the movie Schindler’s List, and the lament of the beguiling composition moved over a long line to a beautiful ending high e note in the violin.