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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
CHAMBER REVIEW
Ensemble Vermillian / Saturday, January 02, 2010

Vermillian Ensemble On Stage in Santa Rosa's Sophia Hall

EARLY MUSIC VIRTUOSITY FROM THE VERMILLIAN EMSEMBLE

by Joanna Bramel Young
Saturday, January 02, 2010

Summerfield Waldorf School in Santa Rosa hosted a concert January 2 in their handsome West Santa Rosa Sophia Hall, featuring the Vermillian Ensemble.

Frances Blaker, well-known to Bay Area recorder players as both a teacher and performer, brought a handful of fine baroque recorders to perform works for recorder, violin, cello and harpsichord. She and baroque violinist David Wilson treated an appreciative audience that filled the hall to a variety of trio sonatas, accompanied by baroque cellist Barbara Blaker-Krumdieck and harpsichordist Hanneke van Proosdij. Ms. Blaker, in order to extend the repertoire possibilities of the recorder, took on the project of finding interesting works written for two violins and basso continuo and arranging one of the violin parts for recorder. This was a frequent practice in the 17th and 18th centuries, where the title page would often read “May be played on flute, oboe or violin.” This practice of course helped sell more music to players of different instruments. Ms. Blake explained her reason for undertaking the project by telling the audience, “I love to play the recorder, but I love to listen to the violin.”

The program’s first work was a trio sonata by Corelli, the Roman composer known for his sweet melodies and clear, defined bass lines. The sparkling last Allegro allowed the recorder, in the hands of Ms. Blaker, to demonstrate abundant facility and instrumental mastery. Cello and harpsichord provided sensitive support to the upper voices. The next piece was by Giovanni Battista Fontana (1589?-1630?), the earliest composition on the program. Fontana, along with the better known Frescobaldi, was a Venetian composer writing pieces in the “stilo moderno” (modern style) which was in vogue in the years after 1600.

This style influenced composers for the next hundred years, and one of its characteristics was, rather than having each movement separated by a pause, which later sonatas exhibited, one movement ran seamlessly into the next. The last note of the Adagio segment would be the first note of the next Allegro. These works involve brilliant flashes of ornamentation, and the whole piece was meant to sound like an improvisation. Ms. Blaker used a soprano recorder which was a copy of an instrument appropriate to the period. Passionate extended notes at the beginning, echoed by harpsichord and cello, were followed by virtuosic runs, requiring intense and expressive articulation among the three players. A quick dance in 6/8 suddenly appears out of an Adagio to end the piece with great energy.

Hanneke van Proosdij demonstrated her virtuosity with a captivating work for solo harpsichord by Joseph Hector Fiocco (1703-1741). She began in the low register using the pungent lute stop, letting the right hand enter later in the louder, more singing “regular” register, creating a moving duet between bass and treble. Ms. van Proosdij is not only known as a harpsichordist, but also a performer on the recorder. Her own vermillion scarlet Dutch made harpsichord provided a fitting setting for the Ensemble Vermillian.

David Wilson exhibited a passionate style in performing the “Sonata Quarta” by Johann Heinrich Schmelzer (c.1620-1680). Mr. Wilson mentioned that Schmelzer was one of the great violinists of his generation, and related to the audience that this work “showed how much fun it is to play the violin.” The harpsichord and cello began with an absolutely simple ground bass of four descending notes, over and over, as Mr. Wilson “vamped” over the four notes in a series of brilliant variations.

The program ended with Buxtehude, where the recorder and violin were able to show their mettle in long solo passages with harpsichord and cello, all merging together into a rich ensemble sound.