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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...
SYMPHONY REVIEW

RIMSKY PROVES RISKY IN GUERNEVILLE

by Terry McNeill
Sunday, September 21, 2008

Seth Montfort’s Russian River Conservatory seems to have a lock on classical music premieres for the North Bay and Sonoma County, with nearly every concert in his Guerneville mortuary-turned–concert-hall bringing arcane repertoire to small but knowledgeable audiences. Concerts produced by Seth are adventures.

Rimsky-Korsakov’s Piano Concerto in C Sharp was the featured work on Sept. 21, with Montfort at the Conservatory piano and Gabriel Sakakeeny conducting the Mortuary Orchestra of Guerneville. Having a professional conductor (Sakakeeny is the director of the American Philharmonic Sonoma County) was an absolute necessity for this concert, as rehearsal time was limited, acoustics were problematic, and the music was probably new to all, including this reviewer, whose only experience with the concerto is the long-vanished Richter recording from the 1960s.

The concerto doesn’t quite fit into conventional orchestral repertoire. Composed in 1882, at the same time as the similar (but longer) Arensky Concerto in F, the Rimsky work is on a different planet than the ca.1875 blockbusters of the Russian canon, the Tchaikovsky B-Flat and the Rubinstein D Minor. Rimsky’s work never really makes an artistic whole. There is much Liszt present in thematic transformation, lots of octaves in the piano, and much alteration of tempo.

In this performance, there was, unfortunately, not much alteration of volume, nor was there any subtlety of phrasing or harmonic balancing. The reasons for this lack of success were manifold: the inadequate and dull piano, the absence of pianistic rubato, the dense textures from the small performance space, and a sense of incompatibility between the solo instrument and the 29-musician orchestra.

On the other hand, the aspects that went well were quite lovely, including the ardent clarinet solos by Jeff Chan; the uniformly good horn playing from Janis Lieberman and Paul Hadley; the long, repetitious but lovely solo cadenza with choice resurrections of the opening theme; and Sakakeeny’s rapt attention to the score.

This reviewer could not stay for the second half, a complete “Seasons” of Vivaldi. Alas, it was my loss, as phone calls the next day revealed that the performance had polish, charm and authenticity.