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Chamber
"DR. DOROTHY" CHARMS CAS ORGAN RECITAL AUDIENCE
by James Harrod
Sunday, March 22, 2015
The silver clad dancing feet of organist Dorothy Young Riess brought excitement and inspiration to organ enthusiasts March 22 at Resurrection Santa Rosaís Resurrection Church. Standing tall and straight, poised and beautiful, in sparkling silver and black attire, this 84-year old virtuoso musician, ...
Symphony
RAVISHING RUSSIAN MUSIC AND SOLOIST BURNISH SRS CONCERT IN WEILL
by Terry McNeill
Saturday, March 21, 2015
Itís rare in a symphony concert, even one with many surprises, that a soloist takes on two disparate concertos with mostly identical results. But it was exactly the outcome of pianist Olga Kernís appearance March 21 with the Santa Rosa Symphony in Weill Hall. Surprises? The first came with her po...
Symphony
A TROIKA TO REMEMBER
by Steve Osborn
Saturday, March 21, 2015
At the beginning of the 20th century, Russia was home to three extraordinary composers--Rachmaninoff, Prokofiev, Stravinsky--whose stars continue to shine. Rachmaninoff carried on the Romantic tradition, Stravinsky tried to annihilate it, and Prokofiev landed somewhere in the middle, clinging to tra...
Chamber
TCHAIKOVSKY'S BIG TRIO WAS FROM RUSSIA WITH LOVE
by Nicki Bell
Saturday, March 14, 2015
Grief and love are the catalytic converters of great art. On March 14 an almost full house in the Occidental Performing Arts Center was treated to a passionate evening of grief and love in musical outpouring from a terrific (yes, hot) award-winning ensemble. The Lysander Trioís (named for a charac...
Recital
PERAHIA'S INTENSITY SHINES IN WEILL HALL RECITAL
by Terry McNeill
Saturday, March 07, 2015
Murray Perahia has built a long pianistic career based on performances of discernment, classical structure and impeccable taste. His playing always exudes a refinement and lapidary attention to musical detail. And so it was in his March 7 Weill Hall debut recital before an audience of 900, with a c...
Chamber
WINDS BLOW SWEETLY IN WEST COUNTY
by Philip Beard
Sunday, March 01, 2015
March 1 was the perfect date for a rousing wind-groups concert at the Occidental Center for the Arts. Two local groups, the Coastal Winds Woodwind Quintet and the 5th Avenue Brass Quintet, did themselves proud before a near-sellout crowd. The performance was to benefit the host Center, currently r...
Choral and Vocal
A DEFINITIVE ST. MATTHEW AT ABS BELVEDERE CONCERT
by Joanna Bramel Young
Friday, February 27, 2015
The American Bach Soloists performed Bachís timeless St. Matthew Passion Feb. 27 to a sold-out audience at St. Stephenís Church in Belvedere. In the account of Christís last hours as set forth by evangelist Matthew, the Passion stands supreme, beside the Mass in B Minor, as Bachís finest creation. ...
Symphony
HEALDSBURG PHILHARMONIA PLAYS THE RAVEN
by Terry McNeill
Sunday, February 22, 2015
Les Pfutzenreuter is a conductor that gets around, moving from his Ukiah base at Mendocino College and the Ukiah Symphony to festival and concert appearances with many orchestras. February 22 found him with the Healdsburg Philharmonia in that City’s Raven Theater with works of Copland and Tcha...
Symphony
CHAMPAGNE ORGY OF SWISS ORCHESTRA'S SOUND IN WEILL
by Terry McNeill
Saturday, February 14, 2015
Orchestras on tour usually perform hefty display works to showoff their virtuosity and power. And so it was with the Orchestre de la Suisse Romande (OSR) Feb. 14 in Weill Hall. Big works, weighty display. And in a surprise the compositions by Stravinsky and Ravel in the second half did the rare th...
Symphony
LENGTH? HEAVENLY LENGTH AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, February 14, 2015
A Bruckner Symphony performance can be a demanding task for both the orchestra and audience, as each of the nine are long and musically wandering. But not all that wander are lost, as the Sonoma County Philharmonic proved in their Feb. 15 concert in the Santa Rosa High School Performing Arts Center...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Sunday, January 15, 2012
Alexander Barantschik, violin; Robin Sutherland, piano

Violinist Alexander Barantschik

BARANTSCHIK AND FUKUHARA IN GLOWING FOUR SONATA NEWMAN RECITAL

by Terry McNeill
Sunday, January 15, 2012

The program for Alexander Barantschikís violin recital Jan. 15 in Newman Auditorium was not at first glance auspicious. And not because of the merits of the four sonatas, as all are masterpieces of the standard repertoire. The critical quandary was that the program was so conventional, the pieces comfortable for the artist, who as the San Francisco Symphony Concertmaster presumably has minimal practice time in less-often-played repertoire. Sonatas by Elgar, Faure, Respighi, Dohnanyi, Paderewski, Strauss, Rubinstein, Busoni, Reger and St. Saens would have been welcome for a Sonoma County audience.

And lowering the bar for an orthodox music menu, Mr. Barantschikís partner in the San Francisco Symphony, Robin Sutherland, was unable to play and on short notice Akimi Fukuhara replaced him at the piano, flying in from Japan.

All this in hand, how was the playing in what was offered? Very fine indeed, beginning with Beethovenís first Sonata in D Major, Op. 12, No. 1. Playing from score as he did all afternoon (understandable given a new pianist), Mr. Barantschikís reading had a light touch throughout, echoed by the lovely and fast scales from his partner, her trills in both hands shimmering. A wider vibrato characterized the Andante con Moto second movement, still with a chaste tone. The tempos were brisk in the finale with Ms. Fukuhara pushing the pace and underlining subtle off-beat dissonances. Mr. Barantschik carefully controlled the final short chords, eliminating vibrato on several and then deftly adding it at the penultimate three.

Brahmsí G Major Sonata, Op. 78, closed the first half and began in a stately, almost leisurely way. It was a performance under the violinistís complete bow control, and perhaps on balance a little understated. Mr. Barantschikís tone could be slightly dry at times, particularly in fast passages close to the bridge, but always rich in the lower registers. Ms. Fukuhara chose not to emphasize a sonorous bass at the movementís end, producing a muted sound, but Mr. Barantschik preceded his final two chords with old fashioned appoggiaturas. A lovely conceit.

The following Adagio unfolded with great charm, the highlight being a threnody line for the violin romantically played over a soft ostinato piano part. The concluding Allegro molto brings back themes from the first two movements and Mr. Barantschik wove them into a rich Brahmsian fabric that was both tender and contented.

Following a long intermission the audience returned for two more expertly-played sonatas, Mozartís E Minor (K. 304) and the great Franck in A Major. The two-movement Mozart work, a Parisian sonata from 1778, was performed with an elegant interplay of voices. The instrumental balances were good and only in a few isolated places the artists were not in sync. The piano sporadically covered the violin line in the Tempo di menuetto in this Beethovenesque work, but careful legato and even chord playing from the duo produced musical optimism (when in E Major) from the prevailing sad tone of the entire piece.

Franckís Sonata was admired by his contemporaries and has been a staple for virtuosos since the Ysaˇe premiere in 1886. Mr. Barantschik phrased the graceful opening movement with great care and Ms. Fukuharaís piano part had larger sonority and impact than in the previous works. The reverse characterized the fiery and turbulent Allegro, Ms. Fukuharaís scales quicksilver but lacking needed heft in the bass, and the violinistís thematic projection potent in his top range. In the improvisatory Recitativo the music soared, the playing the finest of the concert. Mr. Barantschik held the fermata at the end, a captivating effect.

This richness of the duet continued in the canonic finale (Allegretto), each instrument playing off the other with majesty, the bits of previous movement themes masterly interwoven and leading to an exalted ascending violin scale and piano run at the end. It was a fervent and committed Franck throughout.

A standing ovation from the audience of 190 erupted, and despite repeated curtain calls, there was no encore to extend what was arguably the best local violin recital since Mr. Barantschik's colleague, Nadia Tichman, played four years ago in Oakmont.