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Recital
FAN RETURNS TO OAKMONT IN AN ECLECTIC RECITAL
by Terry McNeill
Thursday, February 11, 2016
New York-based pianist Joel Fan hasn’t been a stranger to Sonoma County, having played in both the Concerts Grand and Music at Oakmont venues. February 11 he returned to Oakmont’s Berger Auditorium in an eclectic and often electric recital before 200. Beginning with Ginastera’s first Sonata Op. 22...
Recital
BACH AND BUXTEHUDE ORGAN MASTERY IN MORGAN'S SCHROEDER RECITAL
by James Harrod
Sunday, January 31, 2016
Stanford University organist Robert Huw Morgan played an exciting and interesting program of Baroque music in Schroeder Hall January 31, performing the entire concert with faultless virtuosity. The recital’s program consisted of both familiar and unfamiliar selections, and his choices were familiar...
Symphony
VSO SEASON FINALE FEATURES COMMANDING CONDUCTING
by Elizabeth Warnimont
Sunday, January 31, 2016
New Zealand conductor Marc Taddei led the Vallejo Symphony Jan. 31 in “The Composer's Muse,” a program that emphasized the uniqueness of each selection, in Vallejo’s Hogan Auditorium. An audience of nearly 350 was the largest in the past two seasons. The concert marks the last of three audition co...
Chamber
SCHUMANN'S INTIMATE CONVERSATIONS IN SCHROEDER
by Sonia Morse Tubridy
Saturday, January 30, 2016
An ensemble of five outstanding musicians from Valley of the Moon Music Festival presented Jan. 30 a program "Schumann The Intimate Conversationalist" program to a rapt and delighted audience in Schroeder Hall. On entering the hall there was on stage the sight of an exquisite Viennese fortepiano ...
Symphony
SOLO AND ENSEMBLE BRASS PEAL POWERFULLY IN SO CO PHIL CONCERT
by Terry McNeill
Sunday, January 24, 2016
Known for its novel programming, the Sonoma County Philharmonic has frequently engaged local soloists, with flutist Kathleen Reynolds and pianists Lauren Xie and Marilyn Thompson coming quickly to mind. In their Jan. 23 concert, featuring German composers, conductor Norman Gamboa united a rare mid 1...
Recital
INSPIRED SCHUBERT IN BRILLIANT HAMELIN RECITAL IN WEILL
by Terry McNeill
Friday, January 22, 2016
In addition his brilliant pianism, Marc-André Hamelin has built a substantial international career by embracing unconventional repertoire and innovative transcriptions. Who else plays Catoire, Hofmann, Chopin-Godowsky, Dukas, Medtner and…Hamelin? So the Canadian’s Jan. 22 Weill Hall recital was a ...
Choral and Vocal
NEW ABS MARIN SEASON A BACH FEAST
by Joanna Bramel Young
Friday, January 22, 2016
Playing to a full house Jan. 22 at St. Stephen’s Church in Belvedere, the American Bach Soloists launched its twenty-seventh season with a program of four Bach Favorites - two delectable instrumental compositions sandwiched between a pair of cantatas that ABS had performed in its very first concert....
Choral and Vocal
MEDITATIONS ON THE ARTIST
by Mark Kratz
Sunday, January 17, 2016
Schroeder Hall's vocal recital Jan. 17 centered on the life of the artist, and tenor Nicholas Phan described the recital as “meditations on the artist” that highlighted the concepts of hypersensitivity and a sense of child-like wonder that many artists experience. The entire first half of the rec...
Chamber
PRIMA TRIO'S COLORFUL MIX AT MILL VALLEY CHAMBER
by Kate Gilpin
Sunday, January 17, 2016
Softly falling rain and a glimpse of rain-green trees through the windows of the Mount Tamalpais Methodist Church was the ideal background for a stunning Mill Valley Chamber Music Society performance Jan. 17. The Prima Trio, a young group comprising transplants from Armenia, Uzbekistan, and Russia...
Chamber
SCINTILLATING SCHUBERT IN WEILL
by Terry McNeill
Saturday, January 16, 2016
Audience members in Weill Jan. 16 that expecting a balanced, albeit conservative chamber music evening received a slight surprise with a scintillating Schubert Trio that upstaged two otherwise splendid works. Schubert a surprise? In the hands of violinist Joseph Swenson, cellist Carter Brey and en...
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.