Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
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.