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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSON DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.