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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHAMBER REVIEW
Mendocino Music Festival / Wednesday, July 15, 2009
Roy Malan, Violin
Kumaran Arul, Piano

Violinist Roy Malan and Pianist Kumaran Arul at Mendocino's Preston Hall

MALAN AND ARUL TAME GRIEG AT THE MENDOCINO MUSIC FESTIVAL

by Terry McNeill
Wednesday, July 15, 2009

Now in its 23rd season, the Mendocino Music Festival has a reputation for combining innovative crossover programming with the delights of summer on the North Coast – ocean breezes, warm morning fog, Victorian village flower gardens and memorable cuisine. For Roy Malan’s violin recital of July 15, the program was a little novel and a little conventional, but the artistry was first cabin.

Joined at the piano by Stanford University faculty member Kumaran Arul, Mr. Malan’s usual effervescent pre-performance remarks were in evidence as he introduced Mr. Arul as a passionate collector of recordings of the “golden era” of the piano, and discussed the classic 1928 recording of the afternoon’s big work, Grieg’s C Minor Sonata, by none other than Kreisler and Rachmaninoff. Kreisler and Mr. Malan are violinists separated not only by a generation or two, but by their sound. The former’s tone is as wide as the great bay in front of Mendocino, the latter’s style is more constrained and the sound focused but not rich in partials or the broad phrasing that Kreisler derived from his Vienna training under Massart. What Mr. Malan brings to a recital is the art of a consummate professional, playing a wider range of music than any violinist known to me, and reflecting his own famous teachers: Galamian, Gingold and Zimbalist.

Before a jammed Preston Hall audience the program began with a curiosity, Zimbalist’s Sonata In G Minor, Written in 1926 and revised in 1968, Mr. Malan recorded the work years ago (with Robin Sutherland) and with Mr. Arul gave a compelling reading. The opening adagio sostenuto starts tentatively, the fiddle displaying no vibrato, and evolves into a lyrical theme reminiscent of John Powell’s Op. 7 Violin Sonata. Powell was an American composer with whom Zimbalist toured as early as 1913. It’s a long movement, quite Gallic in character without attaching to any individual French composer, and Mr. Malan underscored the theatrical nature of the themes, often in the top register ever so close to the bridge. After some uncharacteristic false notes, Mr. Arul settled down to wholly artistic support in a piece that must have been quite new to him. The second movement, a plaintive and languorous dance, was short and juxtaposed questioning phrases from the violin, answered by the piano. A lovely interchange indeed.

The allegro vivo finale was an animated and often jazzy ride, at one time finding Mr. Malan holding a note solidly for 15 seconds over the syncopated piano line. There are allusions to Rachmaninoff harmonies here, again often in higher registers, and Mr. Malan played it very well.

Dvorak’s Sonatina in G Major, Op. 100, closed the first half, and from the first notes it was unmistakably from the Czech composer’s American period, almost as familiar as the String Quartet in F. The four-movement work is really a set of dances: the rustic with pianissimo ending, a Negro spiritual folk song ending again lightly in a captivating descending phrase; an upbeat “square dance” Scherzo; and a whirling finale full of deceptive cadences and “Virginia Reel” rhythmic excitement.

The intermission brought a respite for the perspiring audience, buoyed by sea breezes from the hall’s open windows (they were closed at the concert’s beginning to prevent the violin from going out of tune), and the second half contained only the Op. 45 Grieg. Here the specter of Kreisler again appeared, Mr. Malan’s tonal approach gaining heft in the tumultuous opening Allegro molto. At times the piano sound overpowered the violin, and perhaps Grieg, a virtuoso pianist, would not have been at all bothered. Some of Mr. Malan’s finest playing occurred in the second movement, the balances restored and his trill slow and amazingly even. There is an ascending phrase at the end which leads up to an E natural, two octaves above the open string E, played sometimes as a harmonic which means vibrato is not heard on the note. Some violinists play it not as a harmonic but fully stopped and with vibrato, which is what I heard. Mr. Malan nailed every note, the last one deftly sailing off over the massive white Festival tent a half mile distant.

Grieg’s finale is again boisterous, and was played that way with echoes from the first movement’s themes. Mr. Arul’s energetic octaves occasionally imposed on the violin line but to no great disadvantage, both musicians bent on conveying the work’s drama and fire. Mr. Malan’s spiccato bow was vigorously dancing near the end, a joyous homage to a lyrical and demanding masterpiece. Though the applause was long and loud, the audience asked for no encore. A curious omission, as I suspect Kreisler’s delectable “Schön Rosmarin” or “Liebesfreud” were at the ready.

Roy Malan has become the North Coast’s most popular violinist, playing in several orchestras, the Trio Navarro and with many chamber ensembles, and here teamed with the formidable Mr. Arul provided the high artistry synonymous with the resplendent Mendocino Festival.

Violinist Dan Greenhouse contributed to this review.