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Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
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
RECITAL REVIEW

Joshua Bell (l) and Sam Haywood Feb. 8 in Weill Hall (Brennan Spark Photography)

INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL

by Abby Wasserman
Friday, February 8, 2019

A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling technique, precise intonation and powerful thematic projection. An easy rapport between the two was a joy to hear and observe.

Beethoven’s enigmatic fourth Sonata 4 in A minor, Op. 23, opened the program. The intense first movement, presto, launches into a gallopy dialogue from which thematic poignancy emerged with a sense of fleeting beauty. Beethoven began the sonata in 1801 when his hearing was deteriorating, and his anxiety at the time likely made its way into the work. Mr. Bell did not emphasize the sadness implicit in the first movement but let the character of the minor mode, in which most of the movement is written, predominate.

In the following andante scherzo, piu allegretto, brief fragmentary declarations moved back and forth between piano and violin, and a fugue section resolved effectively in trills from both instruments. In the concluding third movement, the instrumental voices sang an allegro molto operatic duet with the music’s lyrical longing undercut by ominous rumbling. The three-note ascending figurations in the Sonata seemed to question whether to go forward or give up, but the spritely motive from the first movement returned, and all was resolved suddenly and quietly. An impressive and intriguing reading.

Prokofiev wrote his stunning D Major Flute Sonata in 1942, and Soviet violinist David Oistrakh suggested the composer recast it for his instrument, giving it the opus number 94a. As performed here it was a revelation. The first of four movements (moderato) is characterized by transcendent leaps and slides and insistent rhythms, with the theme repeated in different registers and reinvented countless times, but the score also contains a certain claustrophobic feeling.

In the second scherzo, presto a wild dance ensues, leading toward a lyrical section where the violin part mimes bird trills and calls. Spring and rebirth are suggested in the music, with an undertone of unease, and the performer’s flying fingers brought the Sonata to an exciting close, inspiring some of the audience to break into applause. The artists paused until the enthusiasm abated, then proceeded to the sonata’s romantic andante in which the opening theme is reiterated with exotic harmonies and figurations characteristic of the composer. The Sonata’s finale was thrilling, with Sisyphean ascents and precipitous violin downslides. Both the last two movements are fashioned classically and emotionally “cool,” and the work ended quietly, as though with philosophical resignation.

Following intermission the artists returned to perform Grieg’s Sonata No. 2, Op. 13, a work from 1867 that isn’t played as much as the C Minor Op. 45 piece written 20 years later. The first lento doloroso movement initially reflected a dirge that settled into something quite cheerful as a mini-cadenza in the violin part stated the theme and broke into a Norwegian folk dance. Mr. Bell’s bow exhibited a light touch that underscored the music’s joy with leaps and hops of phrasing. In the second movement the violinist’s interpretation showcased quick emotional changes, and his playing in the closing allegro animato featured piquant pizzicatos, dark tonal colors and deft phrases that built momentum to a thrilling conclusion.

The audience erupted in applause. After three curtain calls, Mr. Bell addressed the audience, kindly inquiring about the condition of a patron who had fainted and been taken out during the Beethoven. He then continued that he and Mr. Haywood would finish with three short encore works, and proceeded to Clara Schumann’s Romance, Op. 22, No. 1, which he played with poignant grace and heart-stirring warmth, blending beautifully with Mr. Haywood’s soft arpeggio chords and elegant phrasing.

Joachim’s arrangement of the Brahms first Hungarian Dance came next, and here the violinist gave way to his gypsy soul, playing with dramatic verve and convincing rubato. The last encore was Wieniawski’s Scherzo-Tarantelle, Op. 16, a show-stopper work that was played at turns playfully and fast, with lyrical interludes, and always with brilliant technique. Mr. Bell told the audience that he had recently returned to it after many years. It had been part of his first youthful recital decades ago.