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Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
CHAMBER REVIEW
Mastercard Performance Series / Saturday, February 18, 2017
Tetzlaff-Vogt Duo. Christian Tetzlaff, violin; Lars Vogt, piano

Lars Vogt (left) and Christian Tetzlaff Savoring Weill Hall Applause Feb. 18

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 is an insistent and often meandering Sonata that demands a lot from the listener, but even more so from a virtuoso executant. Though there are references to the composer’s Piano Sonata of three years later, the Bartok stands by itself in atonality and invention. Mr. Tetzlaff caught the fantasy and rhythmic complexity of the opening molto moderato with accurate slides up to a held note, and long phrases mixed in with a formidable portamento and pizzicato technique. There were no easy tunes to grasp, no legato phrasing and counterpoint.

Sonic outbursts continued in the concluding allegretto with a beginning toccata that was played on top of the strings, often without vibrato, and with solid foundation playing from pianist Lars Vogt. The intangible themes cried out from both instruments, sometimes shrilly, sometimes with surprisingly powerful playing but always under impeccable control. A few in the small Weill audience were seen to lose interest or were simply overwhelmed, but many (perhaps some violinists?) were entranced by the provocative performance, and gave the duo a standing ovation.

Mozart’s F Major Sonata, K. 377, followed the Bartok and was oil on troubled waters. Smiles appeared in the audience as the familiar music unfolded with swirling scales from Mr. Vogt and appropriately fast tempos. It was an outsized reading throughout, and in the variations of the andante each version had a different character, and Mr. Tetzlaff deftly conveyed a slow dance and then rich tone in the charming theme.

Beethoven’s C minor Sonata (Op. 30, No. 2) opened the program with strong instrumental contrasts and outsized, if often clipped, phrases. Mr. Tetzlaff’s subtle control of dynamics was especially present in the lovely adagio where every register of his violin sounded pure, and intonation dead on. At one point he stroked twice across all four strings with the backside of his hand, producing a beguiling chordal effect. The chirpy scherzo led to a concluding allegro presto of substantial momentum, where color and articulation from Mr. Vogt took a back seat to often raw but exciting “middle period” Beethoven playing.

Schubert’s brilliant B Minor Rondo (D. 895) ended the program in heated salonstücke romp that was lengthy and repetitive, as Schubert often is, but also brought the audience again to its feet in applause.

The one encore was a special choice, the Ballada from Janácek’s 1913 Violin Sonata. Here Mr. Tetzlaff and Mr. Vogt explored the fluid chromatic runs with deliberate tempos and a long line that produced for the first time during the evening’s recital calming and shimmering effects. This was ensemble playing of a high order.

In some ways the selected works were a curious mix, neither for connoisseurs nor the gallery. But there was no mistaking Mr. Tetzlaff’s singular achievement and consummate command.