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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
Echo Chamber Orchestra / Sunday, February 16, 2020
ECHO Chamber Orchestra. Daniel Canosa, Musical Director. Laura Magnani, piano. Christian Foster Howes and Alapaki Yee, percussion

Laura Magnani at ECHO Concert (A. Wasserman Photo)

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 performed by ECHO percussionists Christian Foster Howes and Alapaki Yee. Mr. Yee explained from the stage that "Kaizen" is a Japanese term “about the small, consistent changes we go through in our lives.” From its opening strikes and rolls, the piece immersed the audience in insistent pulse, pitch changes, shifting tempos, and surprising tonalities. It was a reminder of how musical drumming can be. The musicians formed intricate patterns with buttery taps, sharp strikes, thunder-like rolls and rumbles, and tuneful variations in pitch. It was mesmerizing. At the conclusion there was a split second of silence, then the audience showered the composers with applause and the kind of whistles one hears at a sports game.

The next surprise was to see the piano positioned on the platform at the rear of the stage for Laura Magnani’s performance of Mozart’s D Minor Concerto, No. 20, K. 466. Mozart wrote some of his most heartrending music in D minor, including the Requiem and parts of the opera Don Giovanni. Before taking her seat at the piano, Ms. Magnani described the avant-garde character of the concerto and said that Beethoven, who greatly admired this work, wrote the cadenzas she would perform.

The first Allegro movement began with an ominous orchestral introduction with cries of suffering from the violins. When the piano part entered, its tones rising bell-like above the orchestra, the mood softened, and a seesaw of darkness and light continued throughout the movement. The tension never fully lifted: even in the lovely Romanze second movement, sudden storms arose. The tumultuous third movement, Rondo: Allegro assai, built to a climax, the orchestra providing momentum and pulse, the piano its translucent partner. After thrilling pianistic runs and intricate trills, Ms. Magnani ended the concerto at a gallop. Her playing was lithe and muscular, faithful to the score and spirit, and deeply expressive. The solo cadenzas made a palpable connection between Mozart and Beethoven.

A sustained standing ovation elicited an encore: Chopin’s Fantaisie Impromptu, Op. 66, which Ms. Magnani performed dazzlingly.

In the interval before the final work, Louise Farrenc’s G Minor Symphony No. 3, Opus 36, flutist and Orchestra Manager Carol Adee noted how little about Farrenc appeared in even recent music dictionaries, and how important ECHO considers her music. Last year Mr. Canosa conducted her delightful Nonet. Farrenc (1804-1875) was a virtuoso pianist and prolific composer as well as a faculty member at the Paris Conservatory for 30 years. The first movement, Adagio-Allegro, began with a single eloquent voice from oboist Margot Golding, leading into a pastoral section rich with harmonies of woodwinds and French horns. The symphony calls for a full orchestra, but size was rarely an issue in this ensemble, except during certain beautiful passages where the three cellos could have benefited from additional players for volume.

The horns introduced the Adagio Cantabile, out of which Kyle Beard's clarinet sang an exquisite theme. The unison strings built intensity while overall, the movement remained pastoral. Movement three was played as agitated and alive, with close harmonies of horn, flute, clarinet, oboe and bassoon, while the strings played pizzicato. The concluding Finale-Allegro was thrilling, with the conductor shaping the music to a lyrical mood before its close.

A reception allowed attendees to enjoy refreshments, see local art and mingle with the musicians.