Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
THE SHOW MUST GO ON
by Steve Osborn
Sunday, January 9, 2022
The Jan. 9 Santa Rosa Symphony concert was supposed to feature the world premiere of Gabriella Smith’s first symphony, but it ended up featuring another type of premiere: a concert that was conceived, rehearsed and performed in less than eight hours. Symphony staff learned on Sunday morning that so
Choral and Vocal
AN OLD FRIEND RETURNS TO WEILL IN STERLING ABS MESSIAH PERFORMANCE
by Pamela Hicks Gailey
Sunday, December 19, 2021
A tremendous accomplishment by the American Bach Soloists Dec. 19 was near perfect performance of Handel's Messiah in Weill Hall. Long an annual tradition at San Francisco's Grace Cathedral, the ABS took to the road and delivered a Christmas gift of epic proportions to an obviously thrilled and enth
Symphony
SHOSTAKOVICH FIFTH THUNDERS AT WEILL HALL CONCERT
by Terry McNeill
Sunday, December 5, 2021
In a new season marketed as “Classical Reunion,” the Santa Rosa Symphony made a palpable connection with its audience at the early December set of three standing ovation concerts in Weill Hall. The December 5 concert, with 1,000 attending, is reviewed here. Vaughan Williams’ popular Fantasia on a T
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
CHAMBER REVIEW
SRJC Chamber Concerts / Friday, January 8, 2010
Steven Isserlis, cello, and Kirill Gerstein, piano

Steven Isserlis

STIRRED, NOT SHAKEN

by Steve Osborn
Friday, January 8, 2010


In a 1778 letter to his father, Mozart observed, “It is far easier to play a thing quickly than slowly.” The truth of Mozart’s observation has been borne out repeatedly in the intervening centuries, as virtuosos of all stripes have sought to dazzle their audiences with high-speed prestidigitation, often at the expense of musical beauty.

Not so with cellist Steven Isserlis and pianist Kirill Gerstein, who bewitched a capacity crowd at Santa Rosa’s Newman Auditorium Jan. 8 with a recital dominated by slow playing of maximum expressiveness. To be sure, the two of them often made their fingers fly through the air with the greatest of ease, but what sticks in the mind are their languid strolls through the musical landscape, with repeated stops to smell the roses.

The concert was much anticipated in Santa Rosa, where the memory of Isserlis still lingers several decades after his first concerts here, near the beginning of his storied career. “I have to report a rather ghastly fact,” he told the audience during one of his witty introductions. “The first time I played in Santa Rosa, Kirill had not yet been born.”

Now 51, Isserlis still sports a mop of curly shoulder-length hair that he flings to and fro with reckless abandon. In contrast, the 30-year-old Gerstein is crew cut, and his movements on the piano bench are relatively confined.

This clash of styles and appearance was on full display in the opening piece, the Cello Sonata in C by Benjamin Britten. Protectively enfolding his Stradivarius, Isserlis alternately gazed up in the air to his left or glanced at a score on his right, often flinging his mane while in transit. Meanwhile, his left foot floated up and down, following the center of gravity.

The sound that emerged from all this rocking and swaying was of the utmost delicacy, rendered ever so much more so by Isserlis’s use of gut strings. Instead of the jagged edges of their modern, metallic counterparts, which often make cellos sound like a swarm of bees, gut strings produce a rounded, soothing tone, more akin to a purring cat.

Gerstein contributed to the delicacy by barely grazing the keys of the piano and keeping himself firmly in the background. The net effect of all this quietude was a heightened concentration from the audience, which listened to the two musicians in rapt silence.

The Britten — which most of the audience had probably never heard — proved to be a captivating sonata that makes full use of the cello’s sonic possibilities. There were plenty of ringing pizzicatos, slithering glissandos and spiccato bowings. The real standout, however, was the central movement, marked “Elegia: Lento,” where Isserlis milked each note to its full potential. The tone on his low C string was absolutely gorgeous.

A slow third movement, an Intermezzo, was also the highlight of the next piece, Isserlis’ own transcription of a neglected Schumann violin sonata. The sonata has a long and curious history, well told by Isserlis in the program notes. Suffice to say that the transcription sounds great on a cello, provided it’s played by someone who’s able to traverse the cello’s long fingerboard as if it were a violin’s.

Isserlis proved fully capable of playing his cello like a violin, but all the virtuosic display was mere prelude to the heart-wrenching third movement, which Isserlis sang to perfection. All the musical elements of Schumann’s greatest songs were here, except for the lyrics, which would have been superfluous in any event.

Gerstein was primarily in the shadows during both the Britten and Schumann sonatas, but the Rachmaninoff sonata, which occupied the second half, was a different story. Rather than “cello sonata,” the work might be more accurately termed “concerto for piano with one-person cello orchestra.” Or better yet, “Russian novel for two players.”

One could never accuse Rachmaninoff of brevity, and this sonata, with its meandering rivers of sound, can overmaster all but the most cogent performers. Fortunately, both Isserlis and Gerstein proved up to the task, imparting a rhythmic force and narrative drive that sustained the work from its opening cascades of notes to its majestic ending some forty minutes later.

Gerstein, who just won the coveted $300,000 Gilmore Artist Award, proved particularly adept at dynamics, leading off the sonata with a stunning decrescendo that moved from fortissimo to pianissimo in the flicker of an eyelash. Isserlis was great throughout, but once again his most memorable playing occurred in the slow third movement, where he savored the quality of each note, bright glimmers of warmth in a stark Russian landscape.

The instantaneous standing ovation produced but one encore: Fauré’s “Sicilienne,” a suitably languid piece that calmed the audience. When it was over, Isserlis held his cello upside down to prove that he had poured every last note out of it, at least for this memorable concert.