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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

Gil Shaham and Akira Eguchi April 26 in Weill Hall (Green Music Center Photo)

SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL

by Abby Wasserman
Friday, April 26, 2019

Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program spanning four centuries of music.

The duo opened the program with Kreisler’s exhilarating Praeludium and Allegro. The piece, which Kreisler pretended for years was by the Baroque composer Gaetano Pugnani, opens with breathtaking leaps in shifting intervals of four, five, six, eight and 10 notes in the soprano register while the piano line reminds us of the presence of gravity with slow block chords. Mr. Shaham performed with a breadth of feeling that this tour-de-force requires.

Scott Wheeler’s delightful The Singing Turk: Sonata No 2, plays daredevil tricks of its own and merits future performances. Wheeler was inspired by Larry Wolff’s 2016 book The Singing Turk, about the role of Turkish characters in 100 European operas written between the 1680 and 1820 during the Ottoman Empire. Drawing lightly from Handel’s Tamerlane; Gilbert’s The Three Sultanas; and Rossini’s The Turk in Italy, the three movements create musical conversations of Wheeler’s own. The first, “Sů la sponda,” evoked two strangers walking along a shore involved in their own thoughts. There were spurts of notes and violin pizzicato, with shimmering pianism from Mr. Eguchi, bearing snatches of melodic thoughts coalescing eventually into a duet. Movement two, “O vous, que Mars rend invincible,” was somber and delicate, and the third movement, “In Italia,” featured themes in the piano part with a sparkling pulse while the violin part dazzled with a perpetual motion speed.

Mr. Shaham’s sound is light, pure, and mutable. With his magical bow he achieves unusual softness in high registers. His pianissimo can whisper, then grow to an amber mezzo forte or rough fortissimo in a nanosecond. He demonstrated all of this in Israeli composer Avner Dorman’s Nigunim, a thickly textured stew of Jewish music from many cultures and many time periods. The work was commissioned in 2011 by Mr. Shaham and his sister, pianist Orli Shaham, and premiered by the siblings in New York that same year. Within it are the textures and emotions of Jewish music in North Africa and the Middle East, with some non-Jewish musical traditions mixed in.

There are four movements and the first, adagio religioso, begins almost noiselessly. Mr. Shaham’s bowing was eerily quiet, as though heard from a far distance. The piano sounded a theme, inviting the violin to come closer, as it did before again evaporating into the ether. The second movement, scherzo, incorporates Georgian folk rhythms and Turkish/Middle Eastern drone sounds. Its vivid melodies are drawn from Ashkenazi music. In the third (adagio) movement, the piano part evokes water dripping onto a rock or ice melting from a roof, and culminates with a prayer-like melody. The ecstatic presto fourth movement blends Jewish music of Eastern European with Macedonian folk dances. It was a rousing performance by both artists of a complex work, leaving an indelible impression of a rich musical heritage and its cross-cultural influences.

After intermission Mr. Shaham returned to play Bach’s E Major Partita No. 3 (BWV 1006), and he chose a brisk tempo, faster than it is often played, yet it was not really rushed. He employed expressive vibrato and rubato to define the borders of each of the six movements (he played the two Minuets without separation). Performed without a score, unlike the rest of the program that was with a score on tablet, this was Mr. Shaham’s most intimate conception. At times he turned in profile, moving along the apron of the stage as though alone in his studio, then turning and smiling almost shyly at the audience as though saying, Yes, we are here together experiencing the incomparable beauty of Bach’s music. The Preludio first movement, with its gorgeous chromatics, was a standout of the evening. Mr. Shaham plays expressively with his entire body, his face seemingly reflecting how the music affects him.

Franck’s Sonata in A Major, written for his friend and fellow Belgian Eugčne Ysa˙e on the occasion of Ysa˙e’s wedding in 1886, was the evening’s final selection. Franck was a pianist, and Mr. Eguchi’s virtuosity shone in this performance. He had consummate discipline in maintaining a balance with the violin, and though he played strongly and with nuanced inner voices, he could have brought out the gorgeous piano part in the second movement more without overwhelming the violin part. It’s nearly as much a sonata for piano as it is a sonata for violin. The third movement recitativo-fantasia: ben moderato was a performance standout, sensitive and uplifting in the way that only lilting melancholy can attain. As though bookending the Kreisler work, Mr. Shaham’s violin sound floated from note to note in lovely intervals during this movement, like a spider spinning silk.

A standing ovation arose from 600 in the hall, and three curtain calls later, the duo took the stage a last time to play an encore of Bolcom’s elegant Graceful Ghost Rag, a perfectly laidback, delicately rhythmic end to a soul-satisfying musical evening.