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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...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 10, 2010
Festival Orchestra, conducted by Daniel Pollack
Stephen Prutsman, piano
William Kligelhoffer, horn

Conductor Allan Pollack gestures to the Festival Orchestra after the Tchaikovsky Fifth Symphony

ALL RUSSIAN PROGRAM LAUNCHES 24TH MENDOCINO FESTIVAL SEASON

by Terry McNeill
Saturday, July 10, 2010

In a high-energy program of Russian music, conductor Allan Pollack and his Festival Orchestra opened the 24th Mendocino Music Festival season in grand style July 11 in the massive white tent on the Mendocino headlands bluff.

Even before the downbeat for the Shostakovich “Festival Overture,” Op. 96, the excitement in the tent was palpable. On mounting the podium, Mr. Pollack received a standing ovation mixed with yells and whistles. Clearly the audience honors his decades of musical work on the North Coast, and the Overture launched the entire Festival with sonic splendor. The opening flourish in the horns pressaged a big night for brass and Mr. Pollack drove the tempos throughout, leading to a romp in the coda. It was a weighty reading, lacking the usual Shostakovich acerbic texture but altogether effective.

Tchaikovsky’s Fifth Symphony in E Minor, Op. 64, was the evening’s highlight. Though cold fog swirled around outside of the tent, the “fate” motive of the first movement was warmly stated, first in the low strings and bass clarinet, and in the march theme. This is familiar territory for Tchaikovsky, the “motto” theme always in the low register The first block of four repeated chords (four times) was deftly handled by Mr. Pollack with a chaste ritard, giving just the right heft to the phrase. The clarinet solos from principal Art Austin were uniformly elegant, though the pungent horns tended to cover the strings, an all-evening deficit. Tchaikovsky’s counterpoint was here underlined by a lovely interplay of cellos, violas and again horns.

The famous horn solo that begins the second movement (after a long and muted introduction) was played tenderly and almost “sui generis” by William Klingelhoffer, followed by principal oboist Thomas Nugent’s emotional solo in the second theme. The third-movement Waltz was handled by the Orchestra with style, spotlighting Carolyn Lockhart’s bassoon artistry.

The finale was feast for trumpets and trombones, Tchaikovsky’s orchestration a vivid example of what he learned from his teacher Anton Rubinstein and how effectively he surpassed that master. Mr. Pollack kept everything in hand, the “fate” theme returning and the coda in every way triumphant. There was distinct voice leading and the secondary idea of a martial character, exemplified by a pulsating ostinato bass, rang throughout the hall. The ending, with rich brass phrases, was splendid. This movement seems overly long compared with the rollicking finale of the Fourth Symphony, the ideas piling up and sometimes difficult to follow.

The ovation for the conductor, his orchestra and Tchaikovsky’s genius was loud and long.

Ending the first half was a stalwart but somewhat unsatisfying account of Prokofiev’s Third Piano Concerto, Op. 26, with San Francisco-based Stephen Prutsman as the soloist. Mr. Prutsman’s playing of the popular work, seemingly a stable in every piano competition, was effective and provided fast scales in abundance. The problem in the performance was one of balance as the orchestral sound frequently covered the soloist. One could see Mr. Prutsman but could not easily hear him.

The machine-gun like rhythms of the finale were never a challenge for Mr. Prutsman, but the filigree on the edges of the composer’s demanding themes tended to be lost in the tent’s acoustics. The string entries were often ragged and there were sporadic bobbles in the horns, something of little import in this powerful concerto. No real pianistic “color” is needed for this work with its driving style and histrionics, and the soloist and conductor were of one mind.

A strange occurrence happened at the last fortissimo chord of the Prokofiev when the house lights were suddenly extinguished. Was it the impact of Mr. Prutsman’s pianism in the pungent treble of the piano? A too-energetic final downbeat from the conductor? A slip by a backstage technician? We may never know.