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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 ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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.