Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
CHAMBER REVIEW
Numina Center for Spirituality and the Arts / Sunday, June 28, 2009
Chamber Music with the Locals: An Artful Afternoon
Music, art, and a wine reception
Performers: Carol Menke, soprano; Kathleen Reynolds, flute; Roy Zajac, clarinet; Jennifer Sills, viola; Norma Brown, piano

Flutist Kathleen Reynolds

NUMINA CENTER EVENT ENDS CONCERT SEASON

by Terry McNeill
Sunday, June 28, 2009

When does the local concert season actually end? Well, it usually is just before July 1, and it’s usually a hot day. Both benchmarks were satisfied June 28 when Santa Rosa’s Numina Center produced the last concert of the 2009 season, a chamber pot pourri, before 125 appreciative listeners.

Copland’s “As It Fell Upon A Day”, a c. 1923 bagatelle for clarinet, flute and soprano, began the program with insouciant flair. Joined by Santa Rosa Symphony musicians Roy Zajac (clarinet) and Kathleen Reynolds (flute), soprano Carol Menke gave a stylish performance that bantered with the two wind instruments. Written in 1923, just before the composer’s seminal Piano Variations, the piece fell gracefully on the ear and echoed the early English harmonies graced by the words from seventeenth-century poet Richard Barnefield.
Reynolds returned with pianist Norma Brown for one of the afternoon’s highlights, Southern California composer Michael Ruszczinski’s “Poem” (1996) for Flute and Piano. Here all the artistry of Reynold’s richly-colored tone was displayed, from the first note (a lovely decrescendo trailing off to piano) to the ethereal ending of the 10-minute work. It was a ruminating journey with varied degrees of attack, a sterling altissimo register and a chaste vibrato. There was not much for the piano to do in this work, giving only sporadic introductory or complimenting phrases. Ruszczinski’s music (not to be confused with the better-known composer Robert Muszynski) was not known before to me, and should have been.

Concluding the first half was a Mozart Trio in E Flat, K. 498, for the odd combination of piano, clarinet and viola. Violist Jennifer Sills met Brown and Zajac on even terms in the three-movement work, probably from 1786. One didn’t miss in this Trio the usual violin’s vocal line as Zajac sang vividly, albeit with judicious tempos. As with the piano sound throughout the day, clarity was lost in the lower registers due to an inadequate instrument. This is a charming work, the opening Andante showcasing a theme which was copiously varied. The Menuetto, although more forceful, carried forward the texture of the first movement, as did the finale. In the last Sill’s viola assumed a cello line at times, to fine effect, and the modulations at surprising times led to a summery conclusion.

Stravinsky wrote his Three Songs from Shakespeare in 1953, and again it was a novel combination of musicians: mezzo soprano, flute, clarinet and viola. These works stem from the time the Russian master was incorporating tone rows into his music. The viola’s plucked strings provided a spicy background to the nearly expressionist “sprechstimme,” reminiscent of Schonberg and Weill. The second song, “Full fadom five,” was based on the play “The Tempest” and ended sadly, Menke catching just the right measure of nostalgia.

Menke remained on stage and accompanied by Brown sang three songs from a composer she has been associated with for a lifetime, Schubert. Only one song was new to Menke’s public repertoire, the E-Flat Major “Lambertine”, from 1815 with words by Josef Stoll. More familiar fare included “Der Neugierige” (the sixth from the cycle “Die Schöne Mullerin”) and “Liebe Schwärmt auf allen Wegen.” All received Menke’s usual careful attention: crystal clear diction, seamless legato and deft characterization of love lost and happily found. Is there a North Bay soprano that sings as often and as well as Carol Menke?

The concert ended with another arcane chamber work, Florent Schmitt’s Sonatine et Trio, Op. 85, for clarinet, flute and piano. Schmitt’s music always seems ready for wider popularity, as with contemporaries Vierne and Françaix, but few outside of France know anything but a few orchestral pieces. Opus 85 is an upbeat work and received a lively interpretation, the opening moving briskly with Zajac in the forefront. There are bits of Impressionism scattered throughout, especially in the chromatic Assez zif second movement with its bantamweight ending, and all went smoothly. Reynolds and Zejac played a fetching and dreamy duet in the third movement, contrasting the exciting Animé that closes the piece. Here Brown’s undulating piano line deftly supported the clarinet and flute, both trading off short phrases and often playing unisons.

Billed as an “Artful Afternoon,” the concert concluded with a display of provocative African landscape photography by Lisa Gershman and a sumptuous outside buffet. The Numina Center covered all the bases, and will do it again August 23 with the same participants, save for Laura McLellan’s cello replacing the viola. The paintings that Sunday will be by artist Boris Illyin.