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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 season’s 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 Sebastopol’s 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 Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ 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...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.