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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
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.