Classical Music Reviews
Every week, our professional critics attend concerts throughout the Bay Area to let you know what went well...and occasionally what didn't. Let their insights enrich your musical experiences, and feel free to share your own views!
Everyone knows organists play their instrument with their feet as well as their hands. Pedals have long been a hallmark of the organ's sound and of the organist's skill — so much so that on most organs nowadays, a recital of music with little or no pedal could sound at best unimpressive, at worst a poor reflection on the performer. Such, however, was not the case at Davitt Moroney's latest Bay Area recital, at St. John's Presbyterian Church in Berkeley on Sunday.
Musicality, discipline, and good programming were much in evidence Friday evening as the San Francisco Girls Chorus presented "Music Fit for a Queen," consisting entirely of music from the British Isles, all sung from memory. The first half was devoted to rarely heard music, the second half to more familiar works. On top of that, Director Susan McMane added a little theatricality, taking advantage of Calvary Presbyterian Church's interior architecture.
Liturgical reconstructions usually do not make for successful concerts. So it has been a relief to see this trend in early music performance diminish over the past two decades. The main problems, as performers learned through experience, are length and entertainment value. Polyphonic music was often reserved for the most important feasts of the year, which could last an ungodly number of hours. People who enjoy hearing early music live already spend a lot of time in churches, whether they like it or not.
I first discovered the Russian Patriarchate Choir of Moscow through a series of recordings released on the early music label Opus 111 in the 1990s. It may be surprising to associate a Russian religious choir with early music, but in this case, the label is apt. Friday night’s appearance of this unique ensemble under Cal Performances at Berkeley's First Congregational church was one of the most thrilling choral music events of the fall season.
Two extraordinary treble choirs joined forces in a concert Monday at Holy Names University: Carmina Slovenica, from Slovenia, and the Piedmont Choir Ensemble from the Bay Area. Their collaboration, called Project Attacca and featuring mostly new music, had begun in June with workshops and rehearsals in Croatia, continued with performances in Croatia and Slovenia, and culminated in Monday's concert.
We in the Bay Area have had a remarkable number of opportunities to hear the young violinist Hilary Hahn, whose more-or-less-yearly performances here stretch all the way back to her Brahms Concerto with the Santa Rosa Symphony in 1999. This year her return, courtesy of Cal Performances, was in recital with pianist Valentina Lisitsa, in a dauntingly difficult program given last Tuesday at Berkeley's Zellerbach Hall. It was a program seemingly calculated to demonstrate Hahn's range, and so it did, though not perhaps entirely as it was intended to.
A number of fine Czech string quartets have graced Bay Area concert venues in recent years, but Sunday night marked the first appearance of one of the most venerable, the Talich Quartet, established in Prague in 1964. Its current American tour has been long awaited; in fact, the group had been scheduled to perform at UC Santa Cruz in 2005, but was forced to cancel when the Department of Homeland Security was unable to process its visas in time.
When the ghost of Jacob Marley first appears in Dickens' A Christmas Carol, practical, level-headed Ebenezer Scrooge suspects "an undigested bit of beef" at work, rather than a supernatural knocking at the door. Thursday night, in Davies Hall, I was searching my memory for any recent digestive mishap that might have caused my strange state of mind.
For most choral aficionados, the words English anthem call to mind the rich repertoire of English-texted music for the Anglican liturgy. But this term has a different meaning for George Frideric Handel, whose set of 11 Chandos Anthems share more in common with Bach's cantatas than Byrd or Purcell.
For its opening concert of the season last Tuesday, Composers Inc. presented an often intriguing mix of pieces, including two piano solos, a couple of unusual duos, a trio, and a quartet finale. Pianist Eliane Lust began the program with a crisp, dynamic rendition of Three Pieces for Piano, by Jeffrey Miller (2007). The outer pieces, “Invention” and “Dance,” were contrapuntal, with motives combining and dissolving in animated interplay. The middle piece, “Elegy,” a reflective study in chordal textures, provided an apt contrast.