Chamber
SAKURA AND THE MUSICAL ART OF ARRANGEMENT
by Abby Wasserman
Sunday, March 12, 2023
Chamber
WEIGHTY RUSSIAN SONATAS IN MALOFEEV'S 222 GALLERY RECITAL
by Terry McNeill
Sunday, March 12, 2023
Chamber
ARRON-PARK DUO IN CAPTIVATING OAKMONT RECITAL
by Terry McNeill
Thursday, March 9, 2023
Symphony
MAGNIFIQUE MUSIQUE FRANÇAISE AT MARIN SYMPHONY
by Abby Wasserman
Saturday, March 4, 2023
Symphony
EXULTANT VSO PLAYING OF RAVEL BALLET IN THE EMPRESS
by Terry McNeill
Sunday, February 26, 2023
Other
JOYFULLY WE SING
by Pamela Hicks Gailey
Thursday, February 23, 2023
Symphony
FERRANDIS BRINGS FRENCH MUSIC AND CONSUMMATE SKILL TO SANTA ROSA SYMPHONY
by Steve Osborn
Monday, February 20, 2023
Chamber
EXALTED ISSERLIS VALENTINES DAY GIFT IN STELLAR NAPA RECITAL
by Terry McNeill
Tuesday, February 14, 2023
Chamber
A TRIO WITH BRIO AT CHAMBER MUSIC MARIN!
by Abby Wasserman
Sunday, February 12, 2023
Other
SUBDUED PIANISM IN RARE FORTEPIANO RECITAL IN THE RAVEN
by Terry McNeill
Sunday, February 12, 2023
|
 |
 Iryna Krechkovsky and Kevin Kwan Loucks |
KRECHKOVSKY-LOUCKS DUO RETURNS WITH 3 SONATAS AND A MELODIC MÉLODIE
by Terry McNeill
Friday, August 23, 2013
In a surprise for Sonoma County chamber music, a scintillating piano and violin duo has seemingly become a yearly visitor. Appearing August 23 for a second time in Santa Rosa’s First Presbyterian Church, the Krechkovsky-Loucks Duo moved a standing room audience of 300 to wild applause in a benefit for the Living Room shelter program.
The concert of three sonatas began with Debussy’s last work, the wonderful G Minor Sonata from 1917. A brief piece of 13 minutes, the sonata demands refined musicianship. The playing of both violinist Iryna Krechkovsky and pianist Kevin Kwan Loucks was deftly animated and at times vehement. The first two movements, especially the beguiling Fantasque et léger, were suitably atmospheric and harmonically ambiguous, but all was swept away in a brilliant très animé conclusion in G Major. Instrumental balances were excellent, and Ms. Krechkovsky has a fluid spiccato bow technique and subtle portamento. It was powerful playing, and the audience, here and throughout the concert, happily clapped after each movement.
Janacek’s four-movement Sonata from 1914, was likely a first hearing for most in the church, unless they attended last season’s splendid performance in Weill by Vadim Repin and Andre Korobienikov. The violinist used a score for the only time in the concert, perhaps in homage to rugged Czech nationalist style and the broad tempos she selected. The opening con moto was played with passion that was suited to the episodic character, and the lyrical Ballada had lovely bucolic moments, the final note from the violin’s high E sailed out of the church into the night.
Aggressive playing was the norm in the final two sections with quick thematic thrusts from both artists, the main themes banal at first and resolving to a cogent and pungent conclusion.
In Brahms’ D Minor Sonata (Op. 108), the Duo dug into the composer’s unusual rhythmic features; but in the frequent pedal point, the piano became too loud, and the bass section was often indistinct. Ms. Krechkovsky widened her vibrato in the expressive Adagio and played with accurate double stops and occasional, albeit minor, pitch variation. The piano part continued to cover the violin in the Presto finale, though in boisterous abandon and thematic trading, the Duo was resplendent.
Though no encore was offered, the Duo did perform an extra piece at the beginning of the second half, Massenet’s pensive “Melodie” from the opera “Thais.” The audience seemed to be mesmerized with the captivating playing that lacked even an ounce of schmaltz.
|