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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
CHAMBER REVIEW
Devon House Garden Concerts / Thursday, October 22, 2020
Barbara Riccardi and Maki Ishii Sowash, violin; Vicki Ehrlich, cello; Paul Ehrlich, viola

Violist Paul Ehrlich

EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT

by Terry McNeill
Thursday, October 22, 2020

Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks.

Four San Francisco Opera Orchestra string players presented two splendid quartets Oct. 22 in the garden of Marin virtuoso violist Elizabeth Prior. Ms. Prior made the introductions to 20 attendees and the sunny afternoon began with Haydn’s D Major Quartet from his Op. 20 “Sun” series of six works.

This wonderful piece from 1772 received a cogent reading, the attacks and releases exact and the phrase interplay demonstrating the performer’s mutual stylistic familiarity. First violinist Barbara Riccardi played sparkling cascades of notes in the opening Allegro with the players emphasizing Haydn’s adventuresome harmonies. The long following Adagio affettuoso had Vicki Ehrlich playing in the cello’s high register, while violist Paul Ehrlich was in the bass. Ms. Ehrlich's cello sonority, though she was situated no closer to listeners than the other three instrumentalists, often carried above them.

The final two movements were performed in lighter weight, the first in a gypsy character and the last quite fast and sprinkled with the composer’s fastidious humor and contrasts in volume. A perfect beginning to the afternoon.

Beethoven’s Adagio from his E-Flat Major Quartet, Op. 127, was a late program addition, and was played through its five free variations in a rich tapestry of mostly somber but lyrical sound. Occasional bits of warmth shone through in this lofty music, played with sentiment but never with sentimentality.

Violinist Maki Ishii changed chairs with Ms. Riccardi for the final work, Mendelssohn’s last Quartet in F Minor. Op. 80. It’s an impassioned composition in four movements with driving rhythms and occasional musical anger. Here the Opera musicians gave an aggressive reading with sustained long-held notes, spiccato bowing, dissonances in the second movement Allegro assai, and only a short respite in the elegiac Adagio. Ms. Ehrlich and Ms. Ishii played the themes expressively, akin to the composer’s Songs Without Words for piano.

In the finale (Allegro) the Quartet kept tight control of the drama, including loud outbursts of sound and seeming emotional anxiety without relief.

One encore came, clearly familiar to string musicians in the SF Opera, Offenbach’s iconic Barcarolle from his 1881 Opera The Tales of Hoffmann. The playing was in every way “Belle nuit, ô nuit d’amour,” with ample pizzicato and Mr. Ehrlich’s poetic statement of the famous theme.