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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
Redwood Arts Council / Friday, February 14, 2020
Kouzov Duo. Dmitry Kouzov, cello; Yulia Fedoseeva, piano

Dmitry and Yulia Kouzov Feb. 14 in Sebastopol

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 opening, and cellist Dmitry Kouzov dug deeply into the strings at times, adding heft to what is a frothy piece that lasted just under 10 minutes. Pianist Yulia Kouzova played fluently and added to the beguiling effects of the composer’s unceasing originality.

The mood sharply changed with Brahms’ E Minor Sonata, Op. 38, and the Duo captured the dark colors and the cello line’s solemn march theme than never seems to rise into the high register. Mr. Kouzov is an artist with lots of head and body movement (many cellists do this) and used a wide vibrato in most of the work’s wonderful and brawny themes. The Church’s acoustics were direct with little reverberation, and the Allegro’s ending chord was lovely, the cello (low) and the piano (high) a fifth apart.

The middle movement was played with a graceful minuet between shorter outer sections, and the piano line never covered the cello. The fugal finale was played with off-beat accents and momentum, but Ms. Kouzova had difficulty with fast scales in the accelerando towards the end. Piano action repetition might have been the culprit, or the tempo was too brisk.

It was an exciting reading of Brahms' work from 1866, and following intermission Beethoven’s C Major Sonata, Op. 102, No. 1, was substituted for the originally announced Bach Second Suite. Well, it’s the Beethoven year, and the lyrical beginning was like a flower opening in serenity. Ms. Kouzov’s trills were even and, like much in late Beethoven, extended in length and often expressive.

This Sonata is quite different from its tumultuous predecessor (in A Major, Op. 69) and is harmonically complex, with many short thematic phrases and none of the somber nature of the Brahms. The Kouzovs deftly managed the many tempo changes and spotlighted the dissonances. It was a bright and challenging interpretation, and the evening’s highlight.

Completing the recital was a performance of Martinu’s spontaneous tour-de-force Variations on a Theme of Rossini, Op. 290, from 1942. The original theme was from the opera “Moses in Egypt,” and Paganini’s use of the theme was also a model for the composer. Regardless, the Kouzov Duo put the tune through its virtuosic paces, at times letting the piano and cello sound at cross-purposes. They played the many crescendos, decrescendos and stormy parts, with cello slides and the exciting coda brilliantly.

A standing ovation generated an encore of an opposite texture and mood, a transcription of Rachmaninoff’s Vocalise, a Romance from Op. 34, No. 12. Here Mr. Kouzov beautifully matched the original vocal part in rich tone color, perfectly aligned with a sensitive pianissimo from his partner.

Pianist Andreas Klein performs at the next RAC concert March 20 in the Occidental Center for the Arts.