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Recital
THE BALLADE OF JUHO POHJONEN
by Terry McNeill
Sunday, September 14, 2014
Planning a piano program around a single theme or name can be tricky because cutesy connections can easily displace artistic merit. Fortunately, Juho Pohjonen's Sept. 14 recital in the inaugural "Sundays at Schroeder" concert was a textbook example of a successful theme--ballades--supported by wonde...
Chamber
POTENT STUDENT WORKS IN ARIADNE TRIO CONCERT
by Nicki Bell
Sunday, August 24, 2014
On a lovely August 24 afternoon the Trio Ariadne played the seventh of ten concerts inaugurating the opening of SSU’s Schroeder Hall in the Green Music Center. It was part of a celebratory splash to introduce the music community to this little jewel of a hall, the 250-seat capacity and acoustics pe...
Chamber
ACOUSTIC CLARITY AT LAST
by Terry McNeill
Sunday, August 24, 2014
After years of chamber music frustration in Sonoma State University's Ives and Weill halls, the Trio Navarro basked in acoustical clarity Aug. 24 at their debut concert in the university's new Schroeder Hall. The acoustics in Weill before small audiences, and with lush romantic chamber music, made ...
Chamber
FACULTY AND COMMUNITY MUSICIANS JOIN IN SCHROEDER CELEBRATION
by Terry McNeill
Sunday, August 24, 2014
Though many of the inaugural Schroeder Hall concerts had larger audiences than the Aug. 24 faculty and community musician event, few of them had such lovely music on display. Some of the best were first, with ravishing music from SSU guitarist Eric Cabalo and Santa Rosa Symphony violinist Eugenie W...
Chamber
VOCAL PYROTECHNICS LIGHT UP SCHROEDER HALL
by Terry McNeill
Sunday, August 24, 2014
What could end a wildly successful 10-concert inaugural weekend in SSU’s new Schroeder Hall? A resounding concert of manifold brass, organ and voice that turned out by a wide margin to be the overall audience favorite. The long Sunday evening event put on display every piece of Schroeder’s vaunted...
Recital
KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade. A jammed Schroeder ...
Recital
HERE COMES THE ORGAN!
by James Harrod
Saturday, August 23, 2014
The rich sounds of Dutch Renaissance organ flutes, reeds, and mixtures sounded in Sonoma County August 23 when James David Christie inaugurated the new Schroeder Hall pipe organ installation at Sonoma State University. Under the performer’s experienced and sensitive touch, the Brombaugh Opus 9 mech...
Choral and Vocal
A FITTING OPENING FOR SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
A choral concert by the Sonoma Bach Choir was a fitting opening for the new Schroeder Hall at Sonoma State University on Aug. 23. After all, the idea for the Green Music Center came many years ago from Don Green, who at the time was singing in the Bach Choir, conducted then and now by Bob Worth. Th...
Chamber
UBER VIOLISTS AT MUSIC IN THE VINEYARDS
by Steve Osborn
Friday, August 08, 2014
Full disclosure. I'm an amateur--very amateur--violist, so Friday's Music in the Vineyards concert in Napa Valley was of particular interest to me. The program featured two sextets with prominent viola parts; a trio for viola, flute and piano; and the pièce de résistance: a quartet for four violas. ...
Chamber
PIANO SONOMA JAMS IN FINAL WEILL CONCERT
by Terry McNeill
Sunday, August 03, 2014
PianoSonoma concluded its artist-in-residence performances August 3 in a sparkling Weill Hall concert where mostly new music overshadowed conventional fare. Mendelssohn’s popular D Minor Trio began the program in a workmanlike performance that never quite caught fire. Tempos throughout were judici...
SYMPHONY REVIEW
Marin Symphony / Tuesday, March 06, 2012
Alasdair Neale, conductor, Jeremy Constant, violin; Robin Sutherland, harpsichord

Harpsichordist Robin Sutherland

BACH AND PART PAIR PERFECTLY IN MARIN SYMPHONY CONCERT

by John Metz
Tuesday, March 06, 2012

High Baroque composer J. S. Bach and minimalist Estonian composer Arvo Pärt aren’t such an unlikely pair, and the Marin Symphony played to this connection in their most recent program at the Marin Center.

The evening started with the first of Bach’s Brandenburg Concerti. Like in the other Brandenburgs, the full orchestra performs in interplay with the featured concertino group. The concertante in the first Brandenburg consists of two horns, three oboes, a bassoon, and violin, though the horns are perhaps featured the most. And this is quite the showpiece for them. Horns in Bach’s time were valveless, which limited their range, especially in the lower register. Thus, these parts are written in a rather high tessitura. Playing in this range for the full duration of the concerto can be exhausting for players of the modern horn. And yes, this evening’s horn players certainly faced their challenges, but in the end gave a worthy performance – especially in the minuet finale, which also contained some lovely playing from the oboes and bassoons.

Juxtaposed between the first and third Brandenburg Concerti was Arvo Pärt’s famous Frates, arranged by the composer himself for solo violin, string orchestra, and percussion. Concertmaster Jeremy Constant was the evening’s soloist, and his solo introduction was raw, bold, and unhindered, even if not technically perfect. This lead to the main body of the work, which is more meditative, consisting of a singular sustained bass note, supporting the orchestra’s colorful chord sequences and the solo violin’s more freely written embellishments, often containing an abundance of harmonics. Between the various chord sequences, the high strings go silent, the percussion briefly plays, and the violinist strums a chord. This happens eight or nine times until the final chord sequence, which brings the work to a quiet and soothing close.

The third Brandenburg Concerto eschews the concertante group entirely, and instead features a small string chamber orchestra in which the violins, violas, and cellos are divided each into three parts. Thus each performer carries his or her own line. And with the addition of the continuo part, this amounts to ten separate melodic lines at once. This performance of this work was one of the highlights of the evening. The strings along with harpsichordist Robin Sutherland gave a splendid performance of this exciting piece. It was a great closing to the first half.

The concert’s second half began with the Brandenburg Concerto No. 4, again featuring Mr. Constant as well as flautists Monica Daniel-Barker and Katrina Walker. This work is in three movements, the first is marked by a memorable melody in the flutes, in addition to some impressive fingerwork for Constant on violin. The second movement contained some refined and expressive flute playing from Ms. Daniel-Barker and Ms. Walker. And of course the finale: a clever fugue whose style is somewhere between a fugue proper and a concerto grosso.

Pärt’s Cantus in Memory of Benjamin Britten is pure grief in the form of sound. It begins with a high, multilayered line that gradually descends to evoke weeping. As it progresses, the lines grow in intensity to evoke the fullness of Pärt’s anguish after Britten’s death. Throughout this intensification, the death bell tolls over and over again, never letting the listener move on, reminding us again and again of the void that will never again be filled. I enjoyed this performance but was confused by Alasdair Neale’s conducting, which lacked subtlety and seemed inappropriate to the music being performed.

The concert closed with Bach’s fifth Brandenburg Concerto, perhaps the most concerto-like (in the modern sense) of the entire set. Here the soloists were again Mr. Constant, Ms. Daniel-Barker on flute, and Mr. Sutherland. The first movement contains some virtuosic moments from all three soloists, the most striking of all being the extended keyboard cadenza, which bursts forth, seemingly out of nowhere, and derails the entire ensemble in the most exciting and heroic way. Mr. Sutherland, who had filled the supportive role of continuo for much of the evening, now proved himself a soloist of the highest caliber. The string orchestra drops out for the second movement as the three members of the concertante perform a trio sonata. The third movement starts with the concertante alone, slowly evolves to incorporate the strings, and finally erupts into some of the most brilliant counterpoint of all Bach’s Brandenburg Concerti.

It was an impressive ending to the Marin Symphony’s best concert so far this season.