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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.