Violist David Samuel

MORE GOLD THAN KORN AT ALEXANDER SQ CONCERT

Parting is such sweet sorrow. The venerable line was on many minds April 7 at the Alexander String Quartet’s concert in Santa Rosa’s Glaser Center.

Sorrow not from the three programmed works, but because the Alexander is not touring anymore, and this concert will be the last in a long history of the Santa Rosa Junior College Chamber Series and the San Francisco-based group. Violist David Samuel spoke from the stage about the changes, and it was noted that he now occupies the stage left seat, once the provenance of cellist Sandy Wilson. Violinist Yuna Lee is the newest member.

Before packed house, what could be better than a Haydn work, here the Op. 33, No. 3 in the sunny key of C Major. The playing seemed as natural and fluent as greeting a revered friend, with the works sobriquet “Bird” stemming from the chirping first movement theme and the bird-song duet of the Scherzando. Zakarias Grafilo’s charming repetitive high violin note that subsequently flutters down was lovely, as were the decorative grace notes that produced the birdlike quality. The concluding Presto with lots of modulations was played really fast and with terraced dynamics.

Barber’s short Op. 11 Quartet closed the first half in a fine performance that sounded fresh in the Hall’s dry but direct acoustics. The bold first movement theme with novel rhythms finally quieted down to a choral. The famous Adagio movement was played from tranquility to an exciting climax, and a long ending fermata. The themes reappeared at the end, played raucously.

As good as the initial playing was, the afternoon’s highlight was Korngold’s Third Quartet, Op. 34, written in 1945 and premiered in 1949. It’s a pungent piece, with hints (only hints) of Bartok. Mr. Grafilo projected the Scherzo’s theme with lots of Pizzicato, and then jumped to a lush romantic section. Much of this music is “twisty” and “winding,” but played convincingly. The following Sostenuto movement sounded bucolic, strong Temolos alternated with a bit of mystery at the conclusion.

The Quartet chose a relentless drive in the finale, symphonic in character, slashing bows and bits of Shostakovich rhythms and repeated motives. The players seemed to relish the last movement’s Dvorák flavor, the jolly second theme spotlighting consonant harmonies and a little jubilance.

A standing ovation erupted and produced two curtain calls but no encore. Adieu for this formidable and elegant ensemble, an honored part of the North Coast’s musical fabric for decades.