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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
CHAMBER REVIEW

The Stauffer Duo

STAUFFER DUO LAUNCHES SRJC SEASON WITH GENTLE CHARM

by Terry McNeill
Sunday, September 19, 2010

Old friends returned Sept. 19 as the Stauffer Duo, long associated with the Santa Rosa Junior College Chamber Series, return for their 30th anniversary recital in Newman Auditorium. It was the first of the season’s six concerts, with a lively 177 in attendance and the anticipation of a challenging program including two modern works and some solo pianism from a mostly unknown composer.

Currently emeritus professors at San Diego State University, cellist Thomas Stauffer and pianist Cynthia Darby have strong ties to the North Bay, as Mr. Stauffer was for many years with the Santa Rosa Symphony and Ms. Darby was born in Ukiah, studying with local teachers prior to matriculating to Boston.

Mr. Stauffer’s cello playing is studied and professional but difficult for a listener to easily approach. This was initially evident in the opening work, Beethoven’s G Minor Sonata, Op. 5, No. 2. The performance was suave with fastidious attention to detail, the bowing often on open strings and understated in the long introductory section. The piano frequently covered the string line, making the cellist visible but not audible. But Beethoven wrote a virtuoso part for himself in the 1796 work, and more is frequently happening in the accompaniment than with the cello. The mixture of quick turns in the piano part in Rondo Allegro brought the composer’s humor to the forefront, the Duo’s attention to small effects telling.

Joan Tower’s slower than slow Tres Lent spotlighted Mr. Stauffer’s varied vibrato technique, and his ability to make the subtlety of pitch alteration grow and diminish. This is a work of lament, episodic for the cello with deft downward phrasing and small portimenti. I found it quite moving.

The first half ended with three rare solo piano works by Séverac, a composer that I don’t recall ever listed on a piano recital program. The inspiration was from the composer’s native Languedoc region of France, now known for its bourgeois wines but in the early 1900s a bucolic area of wild nature. Ms. Darby brought these outdoor sounds quickly to bear with elegant pianism. These pieces are not easily known, as each begins in a wandering way and following many lovely side ventures arrives at shimmering endings, soft arpeggios fading into treble-area iridescence. In their way and with Ms. Darby’s artistic fingers (and feet) they were captivating, but not altogether convincing.

The second part contained two works, a short Messiaen threnody for cello and piano and the big Brahms E Minor Sonata, Op. 38. Here the best and the least effective parts of Mr. Stauffer’s artistry were heard. The Messiaen is the fifth of the eight movement Quatuor Pour La Fin Du Temps, from 1941, titled “Praise to the Eternity of Jesus.” Here Mr. Stauffer was in his element, leaning into some notes, playing others without vibrato, juxtaposing some of the less-than-jarring dissonances in the piano and Ms. Darby’s exquisite control of diminuendo passages. The cello note at the end, over an ostinato passage in the piano, is a long fermata and worth every second of time. Long seconds indeed and wholly mesmerizing.

Brahms’ E Minor Sonata (Op. 38) concluded the printed program, a somber and mystical composition reflecting “homage to Bach” in three big movements, and finishing with a fugue and provocative modulation to G Major. Here I was expecting the piano to again cover the cello, but the balances were initially good and the noble opening theme sounded forth with fervent intensity. The warm second theme was underplayed by Mr. Stauffer, as throughout the recital he tended to need more sonic projection and instrumental passion. His style tends more towards a Fournier sound than one of DuPre, Rostropovich or the flamboyant Piatigorsky. It wasn’t a bass-heavy Brahms reading, the last Piu Presto coda of the Allegro finding the cello lost in the piano sound. Ms. Darby is an articulate pianist, clean and without score variance or inner voicing, but even her non-heroic Brahms sound easily veiled Mr. Stauffer’s elegant but small-scaled tones.

One encore was offered to a standing ovation, the long slow movement from Brahms’ F Major Sonata, Op. 99. Here again the performance of the Adagio Affettuoso was beguiling but not sonorous, the pizzicato exposition played with refinement and for once with heft.

Hosted by the Series Committee, a posh reception in the Bertolini Student Center followed the concert and honored retired SRJC faculty member Norma Brown.