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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
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...
CHAMBER REVIEW
American Philharmonic, Sonoma County / Friday, January 14, 2011
"I Solisti di Sonoma": Marilyn Thompson, piano; Ross Ipsen, violin; Pam Otsuka, viola; Margaret Moores, cello

I Solisti di Sonoma Playing Beethoven's Trio Jan. 14 in Healdsburg

I SOLISTI DI SONOMA BEGINS THREE-CONCERT SERIES TO BENEFIT APSC IN HEALDSBURG CHURCH

by Terry McNeill
Friday, January 14, 2011

Chamber music was launched in grand style for the 2011 year Jan. 14 when the American Philharmonic Sonoma County presented the first of three small group concerts featuring artists associated with the APSC.

Designed as a fund raiser to cover costs incurred from the historic tour to China, the concert at the Healdsburg Community Church preceded events at Santa Rosa’s Glaser Center and the charming Jacuzzi Family Vineyards in Sonoma. The performers, named “I Solisti di Sonoma,” donated their artistry and gave a small audience of 23 a rich program, albeit from ever-popular composers.

Beethoven’s Piano Trio in E-Flat Major, Op. 1, opened the program with pianist Marilyn Thompson’s pearly scales taking charge. The piece, from 1793, gets away from the keyboard-dominant trios of Haydn and Mozart and in the acoustically dead church space Margaret Moores’ cello carried all evening with a rich sonority. The long Allegro found violinist Pam Otsuka wrestling with pitch problems and a thin tone that settled down in the Adagio cantabile, highlighted by soft Alberti bass figures in the piano and ending in two lovely string pizzicato chords and two soft answering chords from Ms. Thompson.

The concluding lilting Scherzo and Presto finale unfolded smoothly, the Presto chords from the piano on the octave seeming to signal the quick tempo and instrumental interplay. Ensemble here was the best of the evening.

Prior to Schumann’s Adagio and Allegro for Cello and Piano, Op, 70, APSC Board Chair Brian Lloyd announced the dates of the forthcoming concerts and related stories of the historic APSC tour of China that ended Jan. 6. Mr. Lloyd, a cellist, then discussed the role of his instrument in the lives of the Schumanns and Brahms, and speculated that Brahms may have written (like Robert Schumann) a cello concerto, but destroyed it.

Ms. Moores (playing from score) and Ms. Thompson gave an ardent reading of the ten-minute Schumann work from 1849, a piece heard often with the French horn. Here again the cello carried well, the tempos judicious and the ritards in the Adagio broad and never breaking the musical line. The rondo form Allegro had lots of breathing room and the cellist lacked clarity and coordination with the piano only when fast articulation was needed on the fingerboard.

The program concluded with Brahms’ Sonata for Cello in E Minor, Op. 38, written in 1865. In the noble opening theme the low frequencies of the cello were opulent, sporadically overcoming the sound from a less-than-professional church piano. It’s not often that the cello outguns the piano and a virtuoso such as Ms. Thompson, and this imbalance also happened during the closing E Minor movement. The dance-like rhythms of the Allegretto quasi Menuetto were played with gusto, and during each movement Ms. Moores’ pitch was dead on, and the deep note in the cello ending the first movement was haunting.

Additional “I Solisti di Sonoma” concerts are planned for the spring season.