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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
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.