REFRESHMENT FOR OUR SPIRITS
by Sonia Tubridy
Friday, May 08, 2015
On Friday, May 8, Jeffrey Kahane delivered a tour-de-force piano recital at Weill Hall. The program consisted two great sets of variations for piano, Bach's brilliant Goldberg Variations and Beethoven's Opus 109 Sonata, whose third movement offers transcendent variations on a simple theme.
SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD
by Steve Osborn
Sunday, May 03, 2015
Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience ca...
Choral and Vocal
ABS CLOSES 26TH SEASON WITH POTENT BACH AND VIVALDI WORKS
by Terry McNeill
Friday, May 01, 2015
In a May 1 program that balanced vocal and instrumental virtuosity the American Bach Soloists closed their 26th season in grand style in Belvedere’s austere St. Stephen’s Church.
Led by the indomitable conductor Jeffrey Thomas the first half of the program featured a rarely heard cello concerto, a ...
MOUNT TSUJII ERUPTS AT THE GREEN MUSIC CENTER
by Nicki Bell
Friday, May 01, 2015
A great painter changes the way we see and understand the world. The extraordinary Nobuyuki Tsujii, a 25-year-old Japanese pianist blind since birth, changes the way we hear music. He has a transformative power. Formidable technique, a staggering mastery of pianistic and tonal color, surprising temp...
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...
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...
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...
LUMINOUS SOUND IN SF SYMPHONY WEILL HALL CONCERT
by Terry McNeill
Thursday, April 16, 2015
Though the Santa Rosa Symphony is the Green Music Center’s resident orchestra, when the San Francisco Symphony plays Weill Hall they take total artistic ownership. In the penultimate of the four annual Bay Area run outs the SFS played a compelling program April 16 of four masterworks with flawless ...
WARM RAMADANOFF FAREWELL IN VSO'S MARE ISLAND CONCERT
by Elizabeth Warnimont
Sunday, April 12, 2015
Vallejo bid a fond farewell April 12 to a pillar of the arts community in a concert on Vallejo's Mare Island, as David Ramadanoff directed the Vallejo Symphony in his last concert as conductor. A polite but somber mood hung over Lander hall Sunday and was as pronounced as the notes produced by the ...
CONCERTO KÖLN DELIGHTS WITH RARELY-HEARD BAROQUE WORKS
by Joanna Bramel Young
Saturday, April 11, 2015
Weill Hall resonated April 11 with an agreeable group of Baroque works not often heard, though the composers are in fact well known. This assured, skilled plumbing of quiet corners of the repertoire is the specialty of Concerto Köln, based in Cologne, Germany, but received with pleasure throughout t...
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.