Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
Chamber
STYLISH HAYDN QUARTETS CLOSE GREEN ROOM SERIES
by Terry McNeill
Sunday, May 9, 2021
Completing the Green Music Center’s spring series series of “Green Room” virtual concerts, the St. Lawrence String Quartet played May 9 a lightweight program of two Haydn works. Lightweight perhaps, but in every way satisfying. The G Major Quartet (Op. 76, No.1) began the music that was supplement
RECITAL REVIEW
Mastercard Performance Series / Sunday, April 19, 2015
Anne-Sophie Mutter, violin; Lynn Harell, cello; Yefim Bronfman, piano

Muter-Bronfman-Harrell Trio Taking Applause in Weill April 19 (Eisaku Photo)

STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT

by Terry McNeill
Sunday, April 19, 2015

Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program had been played many times recently during their long American tour.

Beginning with the iconic Beethoven “Archduke” Trio in B-Flat Major, Op. 97, the group chose moderate tempos and eschewed old school extended ritards. Two of the players, cellist Lynn Harrell and pianist Yefim Bronfman, gave the audience of 900 a fresh hearing of their artistry. Mr. Harrell’ s last local appearance in the Dvorak Concerto disclosed a deferential approach, but in this concert he found his footing and was more assertive, though in the opening Allegro he seldom played legato, but used a Louré technique, almost stopping the bow between each note within a slur. Regarding Mr. Bronfman, readers of Classical Sonoma may remember reviews of a coarse and pounding Liszt Sonata in Wells, and a technically brilliant but boring interpretation of the Tchaikovsky B-Flat Concerto on the Weill stage. Here he played with greater individuality, rustic charm and attention to his partner’s phrasing.

And violinist Anne Sophie Mutter? Her playing was solidly artistic with less of the pianissimo sans vibrato that characterized past sonata performances. In the variation that begins well into the Andante Cantabile she played without any vibrato, an expressive choice that can be haunting but in the Beethoven is seemed contrived and strange. She was the suave performer in the Trio with legato phrasing juxtaposed with Mr. Bronfman’s rollicking accented bass notes in the Scherzo.

The last movement, that delightfully skittish and humorous section, demands a lot of clarity but the Hall’s acoustics, especially with the too-fast tempo, made the ensemble sound muddy. The coda was played really presto and the composer’s marvelous combination of excitement, humor and even poignancy was seen from the ensemble but not often heard.

Tchaikovsky’s monumental A Minor Trio, Op. 50, comprised the second half and received a stirring performance that surprisingly didn’t include the usual cuts in the last movement, and especially the fugue variation. Ms. Mutter had unsteady intonation in the first big theme but settled down and with Mr. Harrell didn’t shy away from expressive portamentos. The cellist and violinist didn’t always have the same bowings, odd after so many tour performances of this elegiac Russian piece from 1881.

Mr. Bronfman’s big block chords were heavy handed and he is not colorist (colorists at the piano? Hofmann and Gieseking, and more recently Alicia de Larrocha). However, his playing was expressive and arresting, with the great solo in the first movement Tempo Molto Sostuendo passages and voice leading in the early variations of the Andante con Moto. The Mazurka (Variation 2) was captivating, as was the pedal point for the strings and the delicate treble “music box” piano tinkling in Variation 5.

The music (final variation and coda) ended with instrumental perfection – first appropriately powerful, then gradually subsiding to a lugubrious and ultimately funereal pianissimo. A provocative and suggestive great work, played with compulsion and palpable devotion.

The audience sprang to its feet and demanded three curtain calls, but received no encore from the smiling Trio.

Contributing to this review were Toscha Spalding and Jelly d'Neveu