Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 19, 2011
Sonoma Bach Choir, Robert Worth, conductor. Carol Menke and Jenny Samuelson, sopranos; Karen Clark, mezzo-soprano; Scott Whitaker, tenor; Hugh Davies, bass

Alto Karen Clark

WHERE WERE YOU AT 22?

by Steve Osborn
Saturday, November 19, 2011

Where were you at 22? Just graduating from college and trying to find a job? Contemplating a trip around the world to discover yourself? Writing musical masterpieces that would endure for more than 300 years and counting?

If you’re Johann Sebastian Bach or Georg Friedrich Händel, the answers are no, no and yes. Born in the same year (1685) just 125 miles apart, their musical skills were such that both had obtained secure posts by the age of 22 and were already composing enduring works that have been in the repertoire ever since.

For their Nov. 19 concert at a packed St. Eugene’s Cathedral in Santa Rosa, the Santa Rosa Symphony and the Sonoma Bach Choir, conducted by Robert Worth, performed four of those works, all composed in 1707: Handel’s “Laudate pueri” and “Dixit Dominus” and Bach’s cantatas “Aus der Tiefen” and “Der Herr denket an uns.” The Händel pieces were composed during his sojourn in Rome, whereas the two cantatas are from Bach’s stay in Mühlhausen, a small town in eastern Germany.

All four works were originally intended for church performance, with the Händel specifically designated for a Carmelite Vespers celebration at an important Roman church and the Bach cantatas for a small-town penitential service and wedding, respectively. The contrasting purposes and settings are but one indication of the major differences between the works. The Händel pieces are big, bold and festive, whereas the Bach are introspective, restrained and sublime.

These qualities emerged in the performance. Choir, soloists and orchestra were most confident in the Händel pieces, particularly the “Dixit Dominus,” with its four-square writing, clear cadences and moments of obvious drama. In contrast, the Bach performances were more tentative, with a lack of certainty in some of the trickier choral passages and a tendency to drift.

Händel’s “Dixit Dominus” was the musical high point of the evening. This glorious psalm setting uses five soloists, orchestra and choir to illuminate the text of Psalm 110, whose opening verse is, “The Lord said unto my Lord, sit thou at my right hand, until I make thine enemies thy footstool.” These bellicose words found their musical equivalent in a dramatic opening in a minor key with strong entrances from the choir and exuberantly played lines from the strings. Mr. Worth kept the forces moving at a brisk pace, working up a sweat with pronounced strokes from his baton and occasional sweeping motions with both arms to indicate crucial moments.

The text for the second verse is similarly bellicose, but here Händel offers a gorgeous lyrical duet for cello and alto, featuring in this case alto Karen Clark and the Symphony’s new principal cellist, Adelle-Akiko Kearns. Both were outstanding, with Ms. Clark displaying a full-bodied voice with clear articulation and Ms. Kearns matching her note for note on a resonant, sweet-sounding instrument.

The remaining six sections of the “Dixit Dominus” featured fine solos from sopranos Carol Menke and Lindsey McLennan, tenor Scott Whitaker and bass Hugh Davies, alternating more or less with star turns for the choir. Despite having more than 40 voices, the choir clearly articulated most lines of the text, particularly in the sixth verse, where the line “conquassabit capita in terra multorum” (“He shall wound the heads of many countries”) was reiterated repeatedly, mimicking the blows inflicted by the Lord.

Near the end of the performance, a cell phone went off in the audience, thankfully in a pause between sections. Everyone listed attentively to the banal ringtone, which ultimately made the Händel sound all the better. The doxology of the last section is unrelenting, with voices entering again and again to stress the words “semper” (forever) and “Amen.” Mr. Worth, sweating profusely by this point, jumped up and down on the podium to keep the intricate machine moving forward. It was as fine a performance by the Bach Choir as I’ve heard, and there have been many.

In comparison to the “Dixit Dominus,” the singing and playing in the previous pieces were good but not as inspired. The Bach cantatas in particular lacked a certain crispness and authority. That may have been due to the sheer size of the choir, which was probably larger than the forces Bach contemplated, leading to some difficulty with the more intricate passage work. Nonetheless, there were some wonderful moments, such as the final chorus of “Der Herr denket” and the excellent tenor solo in “Aus der Tiefen.”

The concert began with several other excellent solos, all from soprano Carol Menke, the featured singer in Händel’s “Laudate pueri.” She displayed strong command of dynamics and intonation, with convincing crescendos on long notes and equally convincing softer passages. She was particularly good in the lower part of her range, as when singing, “He raiseth up the poor out of the dust.”

Despite that text, no dust was evident in any of the masterpieces on this program. One imagines they’ll still be dust-free 300 years from now.

The reviewer has sung in the Bach Choir and is currently singing in Circa 1600, a chamber choir conducted by Robert Worth.