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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 Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís 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. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
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.