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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
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 ...
SYMPHONY REVIEW
Mendocino Music Festival / Wednesday, July 16, 2014
Festival Orchestra, conducted from the piano by Stephen Prutsman. Susan Waterfall, narrator.

Pianist and Conductor Stephen Prutsman

A MUSIC OFFERING IN A SONIC MIXTURE

by Terry McNeill
Wednesday, July 16, 2014

Bach’s iconic D Minor Clavier Concerto was the centerpiece in the fourth day of Mendocino Music Festival events July 16 in the big tent concert hall, with San Francisco-based Stephen Prutsman the featured artist.

Conducting a chamber orchestra of ten from a lidless piano, Mr. Prutsman took fast tempos and a muscular approach throughout, eschewing subtlety in favor of driving rhythms and dramatic contrasts.
His approach to this contrapuntal masterpiece featured some novel trills with speedy conclusions, pedal point and a detache touch in scale passages, all well suited to this music. It was not Bach to everyone’s taste but elicited loud applause from the 400 people in the hall.

The small orchestra, composed of five violins, two violas, two cellos and bass, managed the speedy pace well. The Adagio movement was captivating.

Mention should be made of the amplification that produced far too much volume and generated a piano tone that was brittle and lacking color. Resident technicians say amplification is required as the tent (and audience) smothers reverberation. The downsides are a lack of spatial presence for the instruments and unnatural string color and overtones. Given the physical condition of a large tent concert space there presumably is not an alternative to the electronic enhancement.

The concert began with Festival co-director Susan Waterfall’s erudite descriptions from the podium of the 1647 genesis of Bach’s “Musical Offering,” BWV 1079. This set 16 short movements is based on a flute theme of Prussian monarch Frederick the Great. In four initial canons Ms. Waterfall provided continuo at the piano and was joined by flutist Mindy Rosenfeld, violinist Jeremy Cohen and cellist Burke Schuchmann.

Bach’s stately C Minor Trio Sonata followed, a four-movement work that showcased Ms. Rosenfeld’s elegant and nimble virtuosity and the sonic support of Mr. Schuchmann’s robust cello vibrato. The tempos here were judicious, allowing the interwoven instrumental lines to be heard clearly. This ideceptively complex Baroque music was rendered convincingly for connoisseurs and those new to Bach’s late compositions.