Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
CHAMBER REVIEW
Numina Center for Spirituality and the Arts / Sunday, August 23, 2009
Carol Menke, soprano; Kathleen Reynolds, flute; Roy Zajac, clarinet; Laura McLellan, cello; Norma Brown, piano

AN ARTFUL AFTERNOON

by Steve Osborn
Sunday, August 23, 2009

The Numina concert in Santa Rosa’s Church of the Incarnation Aug. 23 was billed as “An Artful Afternoon,” and it was certainly full of art. Canvases by the venerable Boris Ilyn filled the north wall of Farlander Hall, and musical art of many eras—Baroque, Classical, Romantic, Modern—emanated from a performance space along the windowed east, with its view of the church’s cloister. The only distraction was the relentless hum of a refrigerator from the kitchen, tempered somewhat by the post-concert hors d’oeuvres therein contained.

Farlander is the church’s dining hall, designed for eating rather than music, but its linoleum floor and high ceiling, to say nothing of its restful view, offer a pleasant listening experience, oddly enhanced by large papier mâché figures of St. Francis, Martin Luther King and Mother Theresa gazing benevolently down from on high.

The subtitle of the concert was “Chamber Music with the Locals,” in this case Carol Menke, soprano, Kathleen Reynolds, flute, Roy Zajac, clarinet, Laura McLellan, cello, and the esteemed pianist Norma Brown. All five are well known to Sonoma County audiences, either as members of the Santa Rosa Symphony or as frequent soloists.

Soprano, flute, cello and piano started the afternoon with a svelte performance of two German arias by Handel. The lyrics of the first, “Süsse Stille,” were particularly appropriate to the late summer afternoon and the friendly, room-filling crowd: “Sweet stillness, gentle source / Of peaceful composure.” Menke sang the gorgeous melody mezzo voce, her voice free of any stress or strain. As always, her pronunciation was impeccable, and her intonation spot on.

Reynolds’ flute obbligato in the second aria, “Meine Seele hört im sehen,” was equally assured, and the interplay between soprano and flute was a joy to hear. Both arias evoked simplicity and happiness, coupled with masterful compositional skill.

The composer Philip Parker, still very much alive, exhibits many of the same talents as the great German master. His “Games” for flute and clarinet likewise offers simplicity and happiness, albeit at a faster pace. Each of the children’s games depicted in this four-movement piece—Leap Frog, Follow the Leader, Hop and Tag—finds its musical counterpart in the ingenious interplay between the instruments. In “Leap Frog,” for example, the one leaps over the other, and in “Follow the Leader,” the two take turns leading and following. Reynolds and Zajac performed this inventive duet to the hilt, conjuring up images of children racing across a playground.

The first half concluded with three songs for soprano and clarinet by one of Beethoven’s lesser known contemporaries, Ludwig Spohr. The first two—“Sei still, mein Herz” (Be still, my heart) and “Das heimliche Lied” (The secret song)—were typically tragic Romantic works, with the clarinet lending a plangent tone to the proceedings; but the last, “Zwiegesang” (Two songs in one), was a delight. Menke (playing the part of a girl) and Zajac (a bird) enacted their roles beautifully, each one complementing the other’s lines to Brown’s steady accompaniment.

More oddities were in store for the second half, which began with Ravel’s rarely performed “Chansons madécasses” for soprano, flute, cello and piano. These three “Songs of Madagascar,” written in 1925, are remarkable for their use of exotic musical themes and their expression of colonial guilt. Lyrics such as “Do not trust the whites!” are well removed from Romantic lieder.

The first song, “Nahandove,” began with a beautiful cello solo, expertly played by McLellan on her resonant instrument. The ensuing love story was well suited to Menke’s range, and Reynolds’ piccolo added a humorous touch. The next, “Aoua,” the warning about whites, was impressively threatening. The last, “Il est doux,” about lying under a leafy tree in the hot afternoon, was likewise slow, voluptuous and languid.

Breaking free from torpor, the concert concluded with a lively performance of a Haydn trio for flute, cello and piano, deftly played by all. Brown, who has charmed Sonoma County audiences for more than 50 years, shows no signs of slowing down. She hit all the notes with clear dynamics and phrasing, leading the charge through the sprightly Allegro opening movement, to the lilting Andantino second, and finally the finger-twisting Vivace assai. The performance was wonderful, a fitting end to an artful afternoon.