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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...
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.