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Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
Chamber
GOOD OLD WINE IN GOOD OLD BOTTLES AT VOM CONCERT
by Jeff Chan
Saturday, February 11, 2017
February 11 was the first day of sunshine in Sonoma County after nine days of rain, but a nearly full house of music lovers chose to spend their afternoon in Schroeder Hall instead of being outside, soaking up the warm sun. There were two equally compelling reasons to attend this concert, which fea...
Symphony
FUNG TRIUMPHS IN SHOSTAKOVICH CONCERTO WITH VSO
by Elizabeth Warnimont
Sunday, January 29, 2017
The Vallejo Symphony Orchestra presented their season’s second concert Jan. 29 in Vallejo’s Hogan Auditorium, devoted to early Haydn, middle Shostakovich and Beethoven’s ground-breaking “Eroica” Symphony. In remarks to the audiences of nearly 400, Conductor Marc Taddei characterized Haydn’s Sympho...
Chamber
ENSEMBLE PERFECTION IN KLR TRIO'S 40TH ANNIVERSARY CONCERT
by Terry McNeill
Sunday, January 29, 2017
Longevity has its place in classical music. Composers and especially conductors live a long time, and venerable piano trios can linger for years. One can recall the great Cortot-Thibaud-Casals staying on the international scene for decades, and more recently Stern-Istomin-Rose, Oistrakh-Oborin-Knu...
Symphony
SUBLIME MOZART CLARINET CONCERTO TOPS SO CO PHIL CONCERT
by Terry McNeill
Saturday, January 28, 2017
Sonoma County Philharmonic’s long history of featuring soloists from the neighborhood struck gold again Jan. 28 with a ravishing Mozart Clarinet Concerto performance with soloist Roy Zajac. Before an audience of 300 the Santa Rosa High School hall the A Major Concerto (K. 626) unfolded gracefully w...
Recital
RISKY SPEED IN POTENT LUO RECITAL
by Terry McNeill
Sunday, January 22, 2017
Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing. Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the ...
Recital
COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL
by Nicki Bell
Friday, January 20, 2017
On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and el...
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 Barantschik’s 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. Barantschik’s 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 Beethoven’s first Sonata in D Major, Op. 12, No. 1. Playing from score as he did all afternoon (understandable given a new pianist), Mr. Barantschik’s 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.

Brahms’ G Major Sonata, Op. 78, closed the first half and began in a stately, almost leisurely way. It was a performance under the violinist’s complete bow control, and perhaps on balance a little understated. Mr. Barantschik’s 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 movement’s 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, Mozart’s 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.

Franck’s Sonata was admired by his contemporaries and has been a staple for virtuosos since the Ysaÿe premiere in 1886. Mr. Barantschik phrased the graceful opening movement with great care and Ms. Fukuhara’s piano part had larger sonority and impact than in the previous works. The reverse characterized the fiery and turbulent Allegro, Ms. Fukuhara’s scales quicksilver but lacking needed heft in the bass, and the violinist’s 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.