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Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarroís tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork Ė a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday nightís concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bellís virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bellís regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bellís sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphonyís concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino Collegeís Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsorís Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphonyís second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the programís first half, conductor Alasdair Neale primed the audience for the ďterra incognitaĒ of Adamsí The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
RECITAL REVIEW
Mastercard Performance Series / Friday, February 02, 2018
Nikolaj Znaider, violin; Robert Kulek, piano

N. Znaider and R. Kulek Feb. 2 in Weill Hall (JCM Photo)

ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2

by Terry McNeill
Friday, February 02, 2018

Weill hall has mounted several exceptional piano recitals, with Garrick Ohlssonís titanic Liszt concert, and of course Lang Langís two insouciant but also compelling performances topping the list since 2013.

But arguably the virtuoso violinists have on balance been more impressive, and thoughts go back to memorable nights from Gil Shahamís six Bach works, Anne-Sophie Mutter, Christian Tetzlaff, Yu-Chien Tsong, David McCarroll, Alexei Kenny, Benjamin Bielman, Caroline Goulding, Vadim Repin, Sarah Chang and Itzhak Perlman, each reviewed at Classical Sonoma. So it was for Nikolaj Znaiderís Feb. 2 recital with the exemplary pianist Robert Kulek.

Mr. Znaider established an immediate rapport with the audience of 250, chatting about the weather, leaning down from the stage to offer a lozenge from his pocket to a coughing fan, and charmingly excusing a woman that fled with hall with a cell phone blaring.

Musical matters began with a beautifully balanced performance of Beethovenís G Major Sonata, Op. 30, No. 3. Itís easy to overplay this charming work, even with the selected brisk opening tempo, but the duo never fell into this error. As throughout the evening Mr. Znaiderís impressive control of pianissimo blended well with the pianist, with the latterís piquant sforzandos and dry arpeggios. Here Mr. Znaider did not show a rich tone, and with minimal vibrato it wasnít needed. The light touch continued through the tempo di menuetto, and in the finale allegro dynamics continued to be narrow, with the effect elegant. Clearly this duo had perfect ensemble.

Prokofievís D Major Sonata (Op. 94) followed, beginning with intonation problems, but the violinist quickly found his footing and focused on the opening moderato with a skittish clarity and a blend of the composerís unique sugary-tart harmonies. The bantamweight ending was lovely. The presto was played presto with quirky high-speed slides and off beat accents, but never went off the tracks. The long diminuendo ending the andantewas perfectly graded and deliciously drawn out.

Al of the composerís characteristics were on display in the finale Ė sarcasm, irony, humor. Mr. Kulekís stressed the dissonances and occasionally covered the violin line. They played a slow ritard before the big lyrical theme that emphasized the underlying sadness of the music. In sum, a vibrant and committed reading of a masterpiece, and for me the concertís highlight.

Franckís great A Major Sonata from 1886 should have been the capstone to the concert, and nearly was. The introductory themes were calm and happy and quite slow, with Mr. Znaider using a wider vibrato and was content to let things flow, with differences in repeated phrases. Mr. Kulekís arpeggiated chords were deftly played. The famous allegro had many felicities with pedal point at the bottom of piano runs and a big ending upward flourish. What was missing were clarity in the right-hand piano runs, some violin notes not attacked cleanly, and most telling a tad lack of intensity in this most vehement movement.

Mr. Znaider introduced the moderato with a story of his five-year old daughter, and played the music (starting in D Minor and ending in F-Sharp Minor) ravishingly, with surprisingly less vibrato and echoes of first-movement themes. Ensemble was tight. The concluding rondo had a judicious tempo that spotlighted the many modulations, and the sprint to the end generated a standing ovation. It was odd that the Franck was played with score, as were the other programmed pieces.

Beginning the second half were four of Shostakovichís Preludes from his Op. 34, transcribed by Dmitri Tsyganov. Hey were fetchingly performed, especially the 2nd (the popular Prelude, with a dry sound); the 3rd (a march with Mr. Kulekís accurate skips); and the 4th (contrasting acerbic and frothy interjections by the violin).

Two encores were offered: Brahms Second Hungarian Dance in a rollicking gypsy rhythm virtuoso romp that brought down the house, and a sultry slow Heifetz transcription with Mr. Znaiderís best schmaltzy double stops.