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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
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 Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.