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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
CHORAL AND VOCAL REVIEW

Composer J. S. Bach

BACH'S CANTATAS SOAR UNDER WORTH'S DIRECTION IN WINDSOR CHRISTMAS CONCERT

by Terry McNeill
Thursday, December 9, 2010

Bach’s massive output of cantatas, numbering more than 230 known sacred and secular works, provides a rich trove for the tradition of holiday choral concerts. Conductor Robert Worth chose four disparate examples of Bach’s compositional genius Dec. 9 in a concert combing a reduced-size Santa Rosa Symphony with the Sonoma Bach Choir and four exceptional soloists.

Part of the Donald and Maureen Green Orchestra Choral Series, the concert was the first of three and drew 350 Bach aficionados to Windsor’s Our Lady of Guadalupe Church. They were not disappointed in the performance, carefully managed by Mr. Worth whose affection for the cantatas was palpable as he elegantly guided vocal soloists and special instrumental parts with aplomb.

A crisp beginning of Cantata BWV 62 (Nun kommen der Heiden Heiland) brought quickly to the ear that the church had little reverberation, the sustain perhaps well under a half second. The small size orchestra, led by Santa Rosa Symphony concertmaster Joseph Edelberg, sounded right for the space, and the orchestra’s portable continuo organ, efficaciously played by Thomas Conroy, responded quickly all evening to Mr. Worth’s direction. In this setting the small organ produced more of a fundamental than a harpsichord, and of course could actually be heard to the last row. Tenor soloist Brian Staufenbiel, light of voice but secure in German diction, sang well the aria Bewundert, a Menschen and was followed by impressive fioratura from baritone Hugh Davies. Mr. Davies commanded the difficult Coda with unexpected minor-key tones in So geht aus Gottes Herrlichkeit, leading effortlessly into the short solos by the two women singers, mezzo soprano Bonnie Brooks and soprano Carol Menke. The recitative duet, albeit abbreviated, was lovely. Ms. Menke’s silken voice easily soared over the audience.

A work for Christmas, Gelobet seist du, Jesu Christ (BWV 91) closed the first half and had two French horns in unison calling the forces to action. Horn players Darby Hinshaw and Alex Camphouse played without sheet music and nailed the tricky three-note repeated presto phrases, though the wicked top treble notes were a challenge. Ms. Menke began unaccompanied in the Choral Der Glanz der höchsten Herrlichkeit, followed by the Choir’s women singers and then Mr. Staufenbiel. The dialogue with the winds and bassoon was lovely, as were the syncopated rhythmic patterns in the orchestra.

The Third Cantata (Herr Gott, dich loben wir, BWV 16) opened the second half with Randall Keith’s strong bass viol line, and Doug Morton’s quietly insistent trumpet solos with a long line. Mr. Morton’s trills in the third part were clear, as was Ms. Brooks' recitative solo Ach treuer Hort. The aria Geliebter Jesu, du allein was an exceptional experience as without the Choir and Orchestra an elegant ensemble unfolded. Cellist Wanda Warkenton, English hornists Barbara Midney and Laura Reynolds and Mr. Conroy wove a refined rich sonic tapestry with Mr. Staufenbiel’s graceful phrasing that underscored Bach’s contrapuntal mastery.

The concert ended with a celebratory fanfare from the French horns and a staggered introduction of the four choral voice groups in the BWV Cantata 65 Sie warden aus Saba alle kommen. Mr. Worth, accurate as always with his left-arm cutoffs, guided the movement and the alleluia-like Chorale Die kön’ge aus Saba kamen dar with a pulsating continuo. The pacing was compact and the unison flute parts from Kathleen Reynolds and Bonnie Lockett melted into the music from the horns.

The vociferous applause after the fourth Bach Cantata seemed to have a component of not being sated with just four works from the Leipzig master. Praise of the performance can go no higher.