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Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
CHORAL AND VOCAL REVIEW
A Capella Fever / Wednesday, July 16, 2014
Vocal groups Acafellas, In the Mix, River and SATB Sine Nomine

Choral Singers

A CAPAPELLA FEVER AHH

by Terry McNeill
Wednesday, July 16, 2014

Choral singing, especially unaccompanied by piano or orchestra, seldom gets exposure at a summer music festival. So it was a surprise July 16 to find the Mendocino Music Festival featuring a full program of a capella singing in downtown Mendocino’s Preston Hall.

Perhaps due to the local performers comprising the four groups, the hall was standing room only and the audience wildly appreciative of the singers. Ft. Bragg’s “Sine Nomine” (no name) led off with six songs, the most novel being the “23rd Psalm” that substituted “she” for the universal “he.” The nine singers created humorous repeating rhythms in the rocking “Way Over in Buelah-lan” and ended with a unison falsetto in “The Lord Bless You and Keep You.”

The three-women River group sang seven works, mostly upbeat and the parts were clear and the diction crisp. In “May I suggest” the ending notes slid upward a perfect octave, and the final work (The Lord Bless You and Keep You) concluded with the word “peace” sung quietly in three separate harmonies. Lovely.

After a long intermission the five-men Acafellas produced the most boisterous program of the afternoon. The jazzy Johnny Otis standard “So Fine” (might they have added “Doin the Hand Jive”?) was followed by a captivating “I Can’t Sit Down,” the title followed by the words ”I just got to heaven and I want to walk around.” It received the loudest applause of a loud applause day.

The subtlest singing came with a fetching version of Ellington’s “Mood Indigo.” The group was less effective in a medley of Beatle’s songs and in “Love Potion No. 9.” The performance of the latter song lacked the unique vocal flavor of the Clover’s 1959 hit version.

In The Mix ended the program with six songs. The five-women group sang well, especially the non-programmed “Lay Me Down, I’ll Be Home Some Day,” but lacked variety of tonal color. This monochromatic palate was evident in much of the four groups singing, compromised mostly of all-male or all-female participation.

This changed sharply in an all-group encore ("Show Me The Way") that had warm voice differentiation. It was a formidable closure to a unique Festival event.