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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
CHAMBER REVIEW
Sonoma Classical Music Society / Friday, May 30, 2008
Elizabeth Dorman and Tanya Tomkins

Elizabeth Dorman and Tanya Tomkins

CELLO-PIANO DUO NOT QUITE RIPE

by Terry McNeill
Friday, May 30, 2008

Sonoma's Classical Music Society closed its fourth season May 30 with a program partly piano recital and partly chamber music.

Presented to 80 people in Sonoma's Burlingame Hall, cellist Tanya Tomkins joined pianist Elizabeth Dorman in Beethoven's flamboyant A Major Sonata, Op. 69, comprising the entire second half. Both artists had an exuberant view of the score and the cello sound in the hall was distinct and warm. Ms. Tomkins needed all the sound she could muster because balance problems pervaded the playing. Constantly pushing the tempo and aggressively stating the four-movement work's engaging themes, Ms. Dorman led the way to a sharply-seasoned but unsettling performance. It was frequently difficult to hear the cello line, though in the brief adagio cantabile the long-line was lovely.

The concert's first half was all piano, and this reviewer heard only the last movement of Beethoven's F-Sharp Major Sonata, Op. 78. The playing was expressive and idiomatic,
but was hampered along with the concluding Chopin works by the inadequate and fatigued house piano. Ms. Dorman, currently studying at the San Francisco Conservatory, gave extroverted readings of the F Major and F Minor Studies from Chopin's Op. 10 set, mastering the technical details of the left-hand arpeggios in No. 8 while grappling with indistinct right-hand scales. The instrument again may have been the culprit, and noisy trap work contributed to mix. The wide extensions in No. 9 were well mastered.

Arguably one of Chopin's greatest works, the titanic F-Minor Ballade, Op. 52 was convincingly played with the requisite drama and tension. Ms. Dorman has a strong rhythmic impulse and was in no hurry to get anywhere. Her rubato playing was unsubtle, but she has an innate understanding of what to do in this under-ten minute exploration of Chopin's genius. She took the pedal at measure 203, cutting off the chordal resonance, and was a wise choice. The cascade of pianistic colors in the coda was skillfully managed, inexorably driving to the final four chords. F Minor is a sinister key.

The Tomkins-Dorman duo would profit by programming more cello works of the standard literature, leaving the solo piano literature to a separate program. The two women are just beginning their collaboration, and based on this one Beethoven performance, it could be a fruitful partnership.