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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.