Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
MYER'S MENDO FESTIVAL RECITAL SPOTLIGHTS MOZART TO BALCOM
by Terry McNeill
Wednesday, July 22, 2015
Completing the Mendocino Music Festival’s piano series July 22 was an energetic recital by returning Festival artist Spencer Myer. The nearly full Preston Hall audience was treated to a program, announced from the piano, that had broad musical appeal and panache. Exploring the Festival’s Mozart t...
Recital
ELEGANT SCRIABIN, CHOPIN AND GRANADOS IN MENDO FESTIVAL RECITAL
by Terry McNeill
Thursday, July 16, 2015
Taiwanese pianist Ching-Yun Hu made a formidable Mendocino Music Festival debut recital July 16 in Mendocino’s Preston Hall. A full house warmly greeted the diminutive artist, and she responded with a pensive and then dramatic performance of Scriabin’s Sonata Fantasy, Op. 19. Writers refer to thi...
Recital
FRENCH ROMANTIC ORGAN MUSIC IN NUMINA RECITAL
by James Harrod
Friday, July 10, 2015
Etienne Walhain played a magical recital July 10 of organ music of Bach, Scarlatti and Franck. Displaying total command of the Church of the Incarnation’s Casavant instrument under his hands and feet, Mr. Walhain performed his program from memory with breath taking speed, accuracy, and clean articul...
Recital
TWO EXEMPLARY ORGAN RECITALS HIGHLIGHT CHAMBERFEST
by James Harrod
Sunday, June 28, 2015
Baroque music aficionados and organists were glued to their seats at Chamberfest’s June 27 and 28 when Malcolm Matthews performed two amazingly perfect recitals of Baroque organ music from North Europe of the 16th and 17th centuries. The two prodigious concerts included no less than 17 selections,...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW ONE
by Joel Cohen
Sunday, April 26, 2015
The MasterCard Performance Series in Weill Hall featured an April 26 recital by cellist Alisa Weilerstein and pianist Inon Barnatan. In Beethoven’s substantial D Major sonata, Op.102, No. 2, the duo were clearly at ease with both the technical demands of the writing and with each other. They show...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW TWO
by Robert Hayden
Sunday, April 26, 2015
This was one of those concerts which far exceeded my expectations. I have heard Alisa Weilerstein several times before, as a colleague in concerts with Jeffrey Kahane, but she has matured and is certainly now one of America’s pre-eminent cellists. Playing before a sadly half empty Weill Hall audie...
Recital
STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT
by Terry McNeill
Sunday, April 19, 2015
Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program ha...
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...
Recital
MESMERIZING BACH AND CASALS IN MA'S WEILL HALL RECITAL
by Terry McNeill
Saturday, January 24, 2015
Cellist Yo Yo Ma’s warm friendship with North Coast audiences entered a new chapter Jan. 24 in a standing-room only and stage seats Weill Hall recital. Playing three Bach Suites for solo cello, Mr. Ma could have echoed the young Liszt’s famous comment, “the concert is me.” But the concert was real...
Recital
BRINGING NOTES TO SHIMMERING LIFE
by Terry McNeill
Sunday, January 18, 2015
David McCarroll and Roy Bogas opened the 2015 “Sundays at Schroeder” series at the Green Music Center Jan. 18 in a recital that featured admirable virtuosity and a provocative repertoire. They began with Mozart’s two-movement E Minor Sonata, K. 304. The work is at turns is sinister and tranquil, a...
RECITAL REVIEW
Redwood Arts Council / Saturday, February 11, 2012
Boris Andrianov, cello; Alexander Kobrin, piano

Alexander Kobrin and Boris Andrianov in Occidental (K. Broderson photo)

BRILLIANT RUSSIAN DUO IN REDWOOD ARTS COUNCIL OCCIDENTAL RECITAL

by Terry McNeill
Saturday, February 11, 2012

It’s a rare occurrence in a cello recital that each programmed piece was both a masterwork of the literature and flawlessly performed, admitting nothing but awe and warm satisfaction from even the most seasoned string aficionado.

Such was the thrilling Redwood Arts Council recital of Boris Andrianov Feb. 11 in Occidental's Performing Arts Center before a packed house of 200. How does a flawless cello recital unfold? First a powerful pianist is needed, and the Russian Virtuoso Alexander Kobrin is just that. Next, a serious and demanding program is expected. No David Popper or Julius Klengel pieces. Finally, the cellist has to have a powerful interpretative personality, similar to but distinct from artists such as Casals, Piatigorsky, Rostropovich and DuPre.

Mr. Andrianov has this artistic stature and proved it quickly in the evening's initial work, Beethoven's C Major Sonata of Op. 102. The haunting opening theme moved effortlessly into the lyrical second theme and Mr. Andrianov underscored the many subtle dynamic contrasts. The Montagnana cello seemed to “growl” caressingly in the Adagio, preceding the introduction to the finale that alluded deftly to the first movement. Both artists securely built the momentum in a seamless partnership but kept distinct voices.

The first half closed with Britten’s Op. 65 Sonata in C, a commanding piece from 1961 in five disparate movements. The furious sections of musical interplay found Mr. Kobrin note perfect and never afraid of his left hand power, and Mr. Andrianov’s cello rich in the bottom register. The pizzicato opening of the Scherzo was magical, the plucking in the cello expected but Mr. Kobrin elicited nearly identical sound from his hammered string piano! His running passages were always clearly articulated, continuing into a perfectly balanced slow march of the Lento, the cello played with mute. Here the performers made the music sound like it was composed by Shostakovich, becoming clangorous and sonically surprising with long finger-board slides from the cellist. Mr. Andrianov all evening exhibited consummate bow control and a jumping spiccato bow in the energetic fifth movement Marcia.

Schumann’s three lush Op. 73 Fantasiestuck began the second part, the most popular piece on the program due partly to its many transcriptions for clarinet and French horn. But the tender and expressive sections sound perfect for the cello and Mr. Andrianov made the most of their romantic restlessness. The phrasing from both artists was patrician and the second part (Lebhaft leicht) elegant in every detail, especially in the pianist’s velvet arpeggios.

Italian composer Giovanni Sollima (b. 1962) is a cello master and his Lamentatio (1997) is a tour de force for solo cello, requiring a brilliant technique of the performer. Mr. Andrianov played the eight-minute work fearlessly and with radiant tone and dead-on pitch, as he did throughout the concert. The audience appeared astonished and excited at the potent reading of an unfamiliar composition.

Ending the recital was a pillar of 20th-Century music for cello, Shostakovich’s Op. 40 Sonata from 1934. Mr. Kobin’s introductory remarks, referring to the composer’s Fourth Symphony and opera Lady MacBeth of the Mtsensk from the same period, underscored the masterly invention of the opening Allegro. Here both musicians were interested in the long line, the contemplative first theme giving way to dramatic outbursts, always supported by Mr. Kobrin’s powerful sound and infallible left-hand octaves. Mr. Andrianov carefully widened his vibrato with increasing volume, symmetrically narrowing it with lowered sonority. The cellist played with concentration, eschewing the physical flamboyance of Misha Maisky without giving up one iota of tonal opulence.

As in many Shostakovich works, the themes can be initially banal but always take on complexity and become unforgettable in context, especially when performed with this duo’s artistry. The concluding Allegro was played with little string vibrato, beginning with mute but then quickly becoming vivacious and witty. This was playing with sweep and big gestures.

Mention needs to be made of the hall’s piano, a less than professional instrument with limited treble sustain, slow key repetition, damper leakage in loud chords and muddy bass tones. Mr. Kobrin’s approach was to give no quarter, making the inadequate instrument sing and roar as if it were without peer.

The two stellar Russians gave the finest cello recital in the North Bay since the Isserlis-Gerstein concert in Newman long ago. Their musical marriage was passionately united in the service of great music.