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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
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...
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.