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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...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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.