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
California Summer Music / Sunday, July 05, 2009
Faculty Concert

Violist Sheila Browne

SSU WORKSHOP FACULTY SHINES IN UNFAMILIAR WORKS

by Terry McNeill
Sunday, July 05, 2009

California Summer Music is a musician’s workshop, rotating between college campuses that put young players in small classes with masters of their respective instruments. Sonoma State University is hosting the 2009 event for three weeks in July, and the CSM faculty had a chance July 5 to show the troops how strings and a piano can sing, albeit with non-traditional compositions.

Before 125 avid listeners in the Fred Warren Auditorium, string and piano performers played a concert consisting of mostly unfamiliar music, and discovery was afoot. Beginning with the Theme and Variations movement from Mozart’s E Flat Divertimento (K. 563), violinist Wendy Sharp and violist Scott Woolweaver were joined by cellist Richard Andaya in launching an inventive set of four variations that never strayed far from the richly-hued theme. Written in 1788, the work is Mozart’s only published string trio. Ms. Sharp’s violin had considerable power, juxtaposing the stately and processional cello line.

Lili Boulanger’s “Nocturne and Cortege” followed, a short seven-page work written in 1914 and, given the title, played in a surprisingly festive mood. Violinist Robin Sharp and pianist Lori Lack gave the piece, perhaps the most performed of the Boulanger works, a lilting reading, the violin pitch dead on and the piano line continually supportive.

The first half closed with two intriguing pieces, both wonderfully played. University of Tennessee composer Kenneth Jacobs wrote his Concerto for Viola, “Approaching Northern Darkness,” for Sheila Browne, and here she played just the final movement from the long 47-minute work premiered in 2005. But it was a substantial chunk, titled “Bold Declaration,” and exhibited a pulsating power and rhythmic drive throughout. This is a big movement, and Browne mastered the multiple double stops and eerie top register of her instrument with aplomb, as did pianist Julie Nishimura. The long romantic line was sustained, the lower-register viola segments contrasting with the piano’s syncopated rhythms. Browne has just recorded the entire concerto on a Zyode CD.

Following the Jacobs was daunting, and some frolic was in order, provided exuberantly by violinist Wendy Sharp and pianist Nishimura in Paul Schoenfeld’s “Four Souvenirs.” Schoenfeld’s 12-minute work cobbles together music depicting a samba, tango, Tin Pan Alley tunes and a rollicking square dance. His sensuous tango was especially effective, the tune from “Autumn Leaves” poking out and leading to the jazziest of the set, the fast square dance. Little bursts of sforzandos, played stylishly by Nishimura, were a relief of sorts from the 1920s swing melody of the Tin Pan Alley movement. The music is intricate and was deftly played, the audience seeming charmed.

Following intermission, cellist Irene Sharp, accompanied by Nishmura, played Poulenc’s 1948 Cello Sonata. The opening Allegro tempo di Marcia got off to a rocky start as Sharp had severe pitch problems, particularly in fast passages where she couldn’t find a tonal center, and her portamento was unconvincing and muddy. Things settled down in the calm and lyric Cavatine, played with just the right amount of muted sadness. The pianissimo ending was lovely. A Parisian dance hall mood characterized the Ballabile third movement, the playing finally secure, and leading to the concluding Largo-Presto finale that began with crashing forte chords from the pianist. It’s a sectional movement, pesky to keep together, with some phrases from Sharp sounding at first too tentative and then in sets of repeated chords refined and distinctive. She is an experienced cellist but eschews a virtuoso’s approach.

Virtuoso music closed the program as Santa Clara University pianist Hans Boepple played just the final section, the “Tanatella”, from the Venezia e Napoli supplement to Vol. II of Liszt’s Anées de Pèlerinage. Famous for the technical demands of fast repeated notes and demonic chord passages, the piece frequently appears as an encore at piano recitals but was an odd choice here, given the nature and freshness of the preceding music. Boepple showed good technical command and added many intriguing ritards, allowing discrete voice leadings. Apart from a brief memory lapse and a lack of the last ounce of orchestral brilliance, his playing was effective and drew the evening’s most prolonged applause.

No encores were offered by any of the musicians, appropriate for an event which showcased faculty at the beginning of a rigorous schedule of workshops for youthful musicians.