Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
CHAMBER REVIEW

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.