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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
SYMPHONY REVIEW
Green Music Center / Sunday, June 28, 2015
Musicians include: Jeffrey Kahane, Jennifer Koh, Margaret Batjer, Benjamin Beilman, Elizabeth Prior, Peter Lloyd, Laura Reynolds, Russ deLuna, Leo Tsui, Douglas Brown, Benjamin Jaber, Danielle Kuhlmann, Robert deMaine, Aloysia Friedmann, Daniel Ching, William Fedkenhuer, John Largess, Joshua Gindele, Elise Shop Henry, Sandy Hughes and Joseph Edelberg

Pianist/Harpsichordist Jeffrey Kahane

BRANDENBURGS A SPIRITUAL GIFT IN FINAL CHAMBERFEST CONCERT

by Terry McNeill
Sunday, June 28, 2015

“Well, you should have been there.” A trite saying used too often by concertgoers? Sure. But surely it was the appropriate adage for the final Chamberfest concert June 28 in Sonoma State’s Weill Hall.

Capping a nine-event series mostly in Schroeder Hall, Jeffrey Kahane led ensembles of up to 20 musicians in an extraordinary traversal of Bach’s complete Brandenburg Concertos. Written in the small Thuringia town of Cöthen in 1721, the six are multi-movement works of instrumental complexity, underpinned in each by harpsichord continuo and strong bass and cello lines. The program notes referred to this complexity: A presentation of all concertos in a single evening requires a performing group of incredible depth, with individual musicians who are comfortable as both featured soloists and ensemble players.

As the works progressed during the first half (No. 1 in F Major, No. 3 in G Major, No. 5 in D Major) I found myself thinking at each ending, “That was sensational; that was my favorite,” only to uncover a new favorite when hearing the next Concerto. In the famous harpsichord solo in the D Major’s first movement Mr. Kahane played elegantly but as usual for him did something novel. At the section’s conclusion where the finger pyrotechnics and fast trills are ending, the music seems to call for a ritard and phrase broadening, an intimate invitation for the re-entry of ensemble. That’s the way it’s usually played, but he never broke tempo and moved straight to the finish with just a slight nod to his colleagues.

Throughout the evening thrilling playing abounded, especially from violinists Benjamin Bielman and Margaret Batjer, oboists Ashley Ertz and Laura Reynolds, flutists Sandy Hughes and Elise Shope Henry (Concerto No. 4) and trumpeter David Washburn in the concluding No. 2 Concerto. Some of the instruments were not of the Baroque era (oboes for example) but Mr. Washburn played the piercing Baroque trumpet with consummate skill, even able to integrate his luminous sound into the sonic texture when needed.

All through the program string vibrato was present but of low volume and short duration, even in the extended solo violin passages by Bach veteran Jennifer Koh in Concerto No. 1, and in the viola playing of Elizabeth Prior and Aloysia Friedmann in No. 6 that began the second half. In Number 6 the lovely Adagio was performed romantically but with a Baroque sensibility, as were the lament-like slow movements of No. 5 (Affettuoso) and No. 4 (Andante). In the latter Mr. Bielman carried the main theme with blistering scale playing and subtle phrase turns and slides.

The frequent interior-movement ensembles were captivating: cellist Andrew Shulman and violinist Daniel Ching joined by oboe and flute; a contrapuntal viola duo in No. 6; the harpsichord introduction with arpeggios in No. 3, the artist handing off a distant theme to the strings; and Ms. Batjer’s entrancing duo with Ms. Hughes in the Allegro of No. 5.

Preceding the final Concerto Mr. Kahane addressed the audience about the power of Bach’s music to overcome the often unspeakable political and social events of our day, and the spiritual force contained in the compositions of the featured Chamberfest composers: Bach, Beethoven and Brahms.

As at the end of the first part, the rollicking No. 6 produced a tornado of applause, and all the musicians were called to a line at the front of the stage. One audience member brought a single red rose for Mr. Kahane.

As the audience of 700 left the Hall there wasn’t the usual ecstatic chatter about the music, but something of a glow of happiness on many faces. This had been a seminal evening, due of course to the producer Zarin Mehta and his staff, the wonderful musicians, the vision of Jeffrey Kahane, but mostly to a man dead for 265 years. Bach.