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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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...
CHAMBER REVIEW
Zivian Tomkins Duo With Guests / Saturday, January 18, 2014
Eric Zivian, piano; Tania Tomkins,cello; Joseph Moile, violin; Pei-Ling Lin, viola

Maile, Zivian, Tomkins and Lin Jan. 18 in Occidental

WEIGHTY ROMANTICISM IN REDWOOD ARTS COUNCIL CONCERT

by Terry McNeill
Saturday, January 18, 2014

Pungent Romantic music dominated the Redwood Arts Council chamber music concert Jan. 18 in the Occidental Community Center, with an aesthetic pianistic introduction of two Bach Preludes and Fugues.

Pianist Eric Zivian brought heavy legato and a full tone to the Bach pieces in E-flat Minor (Book I, BWV 853) and C-Sharp Minor (Book II, BWV 872), taking a judicious tempo in both works and providing careful articulation and repose in the C-Sharp’s fugue. It was not Bach for those used to a pointillist sound, but led well into the thick textures of Schumann and Brahms.

Joined by cellist Tanya Tomkins and violinist Joseph Maile, Mr. Zivian led a passionate reading of Schumann’s D Minor Trio, Op. 63. A clue to the approach was a sweeping ritard by Mr. Zivian, leading to the second theme in the long and tumultuous first movement. The acoustics of the Community Center are full and direct, emphasizing the richness of the cello line, but also Mr. Maile’s thin tone and difficulties with taking notes cleanly, especially in fast ascending scale passages.

This anguished dynamism carried forward into a vigorous Scherzo, the violin and piano trading phrases, and then a slow section with haunting recitatives, sensitively played. The finale was appropriately joyous with ample instrumental virtuosity. The ensemble was not always a smooth blend, as the parched violin line and the muted sonority from the sub-professional house piano could be jarring.

Keyboard sonority was a needed component of the night’s final work, the muscular Brahms Piano Quartet in A, Op. 26. Violist Pei-Ling Lin joined the mix. The playing in the opening Allegro had fervor and underscored the composer’s mastery of counterpoint and majestic thematic material. The serene melodies of the second movement, shortly to characterize Brahms’ first piano concerto in 1867, were played lovingly and with a deep foundation of Ms. Tomkins’ rich cello line and patrician phrasing.

A fine climax was built in the dramatic finale with Mr. Zivian enjoying playing off-beat accents and small dissonances (for Brahms in 1862) in chords of seconds and thirds. The pianist's potent playing occasionally covered his colleagues, but it was of little consequence in the headlong drive to a thrilling ending.

A full house gave the four musicians a standing ovation, but no encore was offered.