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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Saturday, November 17, 2012
Jovan Živkovíc, conductor. Stephen Waarts, violin

Jovan Zivkovic

NORTHERN LIGHTS SHINE BRIGHTLY

by Terry McNeill
Saturday, November 17, 2012

Programming an orchestra concert with Nordic music would seem to be simplicity itself: Grieg for romantic themes, Sibelius for instrumental virtuosity, Nielsen for a 20th-century harmonic component. The combination worked to perfection in the American Philharmonic Sonoma County’s Nov. 17 “Northern Lights” concert in Santa Rosa High School’s Performing Arts Auditorium.

Guest conductor Jovan Zivkovic kept a firm hand on the sonic proceedings, generating the same cogent and balanced sound heard when music director Norman Gamboa opened the season in October. Zivkovic used expansive tempos in the first piece, Grieg’s first suite from the Op. 46 incidental music to “Peer Gynt.” The “Morning” section featured richly hued clarinet playing from Ken Ward. The three soft and somber chords ending the “Death of Ase” segment were perfectly gauged, as was the pizzicato playing in the finale (the famous “Hall of the Mountain King”), beginning in the basses and joined by the horns and subsequently strings. It was not transparent playing, but there was good ensemble throughout.

The Sibelius Violin Concerto followed, with the APSC’s Young Artist Award winner Stephen Waarts as soloist. Long a staple in the standard repertoire, the concerto received a committed performance by Mr. Waarts. Occasionally he had trouble taking notes cleanly coming out of fast bass register passages, but his top notes were brilliantly played with sure-footed intonation. He was able to vary his vibrato as the music’s tempo changed, and the big trill in the first-movement cadenza grew with expression.

Mr. Zivkovic, a restrained conductor with precise but not extravagant stick movements, carefully controlled the shimmering slow movement. Mr. Waarts played the twice-repeated ascending passage soulfully, each time taking the repeat pianissimo. The concluding Allegro was full of scrappy orchestra playing, occasional intonation difficulties in the strings, and fast passage work for the soloist.

Perhaps due to the APSC getting used to the new hall, which this evening had an audience of 300, the soloist was often covered by the orchestra. They were simply too loud, notwithstanding the thematic projection from Mr. Waarts. Afterwards, the soloist offered an extended encore, Paganini’s C Minor Caprice, Op. 1, with copious multiple instrumental stops in difficult hand positions, and he played it adroitly.

Nielsen’s Fifth Symphony, a 30-minute work of grand contrasts and great emotional impact, closed the program. Nichikas Xenelis's suave clarinet and the horn section began the first of two movements over a viola ostinato, the martial character continually reminding one of early Shostakovich. However, Nielsen’s work came four years before Shostakovich’s Symphony No. 1. The menace and visceral nature of the music were kept in balance by the conductor. Percussionist Joe Lang was the persistent and obtrusive snare drummer throughout the first movement.

In the final Allegro, the music’s themes quietly and subtly appeared, leading to strong outbursts by the brass sections, and finally a surging fugal part beginning with the first violins, then violas and bassoonists Miranda Kincaid, Steve Peterson and Mary Ann Sacksteder. There were screeching bird call phrases from the winds, broken by bits of rhapsodic and even bucolic music. Emily Reynolds’ flute playing in the finale was outstanding and echoes of another contemporary of Nielsen, Bartok, appeared in the sonic mix. Good company.

The Nielsen symphony was the highlight of the concert, and it received an incisive and comprehensive interpretation under Mr. Zivkovic’s baton. For the next day’s performance, the audience reportedly doubled in size, nearly filling the hall. The word got around.