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
RECITAL REVIEW

A. Gabrielson and S. Myklebust Acknowledge Applause Sept. 9 in Occidental (J. McNeill photo)

DUO WEST OPENS OCCIDENTAL CONCERT SEASON

by Terry McNeill
Sunday, September 9, 2018

Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful.

Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unannounced arranger made little impact and probably was something novel to most of the audience. An odd choice not explained, but the Fauré D Minor Sonata (Op. 109) that followed was explained by the artists wielding two microphones with an extended interplay of commentary. The audience seemed to enjoy the descriptions of simplistic ideas of contrast in musical composition.

A work from late in the composer’s life, the Sonata’s charms and harmonies are complex and elusive, and cellist Sonja Myklebust’s round sound was well placed for the uneven phrases and unique rhythms. Pianist Abbie Gabrielson had good ensemble with Mr. Myklebust but her playing lacked individuality, and wasn’t helped by the hall’s sub-professional instrument with its wooden sonority and subdued treble.

The Sonata’s best playing was in the lovely andante’s long line and wandering melodies. Bow control here was good and the playing had rich tone in the many modulations. In the finale the duo chose a tempo that was too slow for bringing out the urgency of the music, especially at the end where the momentum in the cello part builds to a joyful climax. The composer’ sobriquet is “Old Arpeggio,” and Ms. Gabrielson added a few inner voices to the delightful swirl of arpeggiated chords.

Before intermission Arvo Pärt’s ten-minute Spiegel im Spiegel was an audience favorite, with Ms. Myklebust’s vibrato widening and the long minimalist exposed line captivating. Cello intonation was very good and the vital clarity of the long-held note changes was excellent. Mild dissonances in the piano part added to the piece’s mystery, with just one blurred cello entry point note and a fetching swelling of vibrato at the concluding fermata. The ovation was long and loud.

Shostakovich’s popular 2nd Sonata, Op.40, came after intermission, and echoed a performance four days earlier at Santa Rosa’s Spring Lake Village Concert Series. In both performances the tempos were on the slow side, diluting the momentum and often sarcasm of the composer. But there is rhapsody in this music, and none of the banality of the cello’s theme in the First Cello Concerto. But Shostakovich does wonders with banal themes, and Ms. Myklebust projected themes alluringly with fine control in pianissimo passages. Pitch was sporadically off when coming down from a high-register quiet notes. There were references here to the composer’s Fourth Symphony, something I had not heard a cellist do before in the D Minor Sonata.

The exciting scherzo was played with an appropriate harshness and again a judicious tempo, leading into the long phrases of the largo. The Duo West gave it a gripping reading, underscoring the dissonances and strange transitions. Sadness trumped melancholy. A program highlight

The finale’s dramatic juxtaposition with the largo followed, with a much lighter instrumental texture, acerbic tunes and a cascade of piano notes.

Ginastera’s Pampeana (Op. 21, No. 2) closed the concert, a bravura work reminiscent of the composer’s Danzes Argentinas. The playing had the right amount of frantic rhythms and heavy textures, but also some leavening fantasy. Repeated phrases and raucous sforzandos from Ms. Gabrielson were telling additions to Ms. Myklebust’s double stops and admirable virtuosity.