Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
REVIEW

Dawn Harms, Anna Kruger, Thalia Moore and Roxanne Michaelian at Oakmont

INSTRUMENTAL EQUALITY IN JAN. 14 OAKMONT CONCERT

by Terry McNeill
Thursday, January 14, 2010

Innovative but not necessarily exciting programming characterized the Kirkwood Piano Quartet’s Jan. 14 performance in Oakmont’s Berger Auditorium.

Unfamiliar works were perhaps the reason for an audience count far less than the usual Oakmont Concerts Series event, and the Kirkwood played a first half of rarely-heard music: Bridge’s one-movement “Phantasy” and a Stanford Quartet in F Major, Op. 15. The dreamy Bridge, from 1911, has many contrasting sections with echoes of late Faure. The playing was lovely, idiomatic and made the most of the subtle duos of viola and cello. The textures were homogeneous, right up to the deft arpeggios from pianist Roxanne Michaelian at the conclusion.

Charles Villiers Stanford is remembered mostly for choral works, though Oakmont resident and Stanford expert Harry Fry reminds associates that the English composers of the Victorian era were successful in other genres. The 1879 Quartet featured harmonies reminiscent of Brahms and Rubinstein, and the bucolic opening allegro con brio was richly played, the themes traded with clarity between violinist Dawn Harms and cellist Thalia Moore. Ms. Harms’ tone can be thin at the top, but Ms. Moore has an exceptionally sonorous bottom register, spacious and frequently doing the voice leading chores. This was especially apparent in the long and lush adagio movement, the Kirkwood catching the majesty of the writing with hints of Elgar. The concluding allegro was spirited, Brahmsian in the lower registers, the piano never covering the other instruments.

It was a fluent if not a particularly powerful reading, and the music must have been novel for just about everyone in Berger. Not so for the familiar Quartet in E-Flat Major, Op. 47, of Schumann, that closed the program. Here all was in place and the Kirkwood’s interest in a blended instrumental texture foremost. Tempos seemed right throughout and the famous andante cantabile saw each player having a chance at the nostalgic and opulent main theme. Mid way through this glowing and vocal movement violist Anna Kruger took up the theme with Ms. Moore in a poignant melodic statement, every note expressive.

Without pause the finale began, quick fugal-like sections ending quickly. Here again the Kirkwood favored equality of sound over fervor, the reading fluent and beautiful without ever raising the audience’s temperature. There was no encore.