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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 ...
CHAMBER REVIEW
Music in the Vineyards / Friday, August 08, 2014

UBER VIOLISTS AT MUSIC IN THE VINEYARDS

by Steve Osborn
Friday, August 08, 2014

Full disclosure. I'm an amateur--very amateur--violist, so Friday's Music in the Vineyards concert in Napa Valley was of particular interest to me. The program featured two sextets with prominent viola parts; a trio for viola, flute and piano; and the pièce de résistance: a quartet for four violas. All of these were preceded by witty and informative introductions by the festival's co-artistic director Michael Adams, who happens to be a violist.

Adams somehow managed to avoid any viola jokes in his introductions, but not so here. What is the sound of four violas playing in unison? A cluster chord.

Such might be the fate of four ordinary violists undertaking York Bowen's Fantasy Quartet for four violas, written in 1907. In the hands of Adams and three other violists, however, the results went far beyond perfect unison. The ensemble produced a rich and varied sound with an astonishing range, even though all four musicians were playing the same type of instrument.

Unlike violins, violas come in different lengths and widths, so they naturally sound different from each other. Add in four distinct musical personalities and you have an ensemble with the texture and variety of a Persian carpet. Everyone played well, but first violist Masumi Per Rostad was exceptional. His sound was velvety, and his motions were as graceful as a swan's.

The only thing lacking was a composer befitting the ensemble. It's easy to understand how the once-prominent Bowen has faded into obscurity. His music, while competent, soon descends into a morass of romantic excess. It would be great for the movies, but it doesn't hold up in a concert hall, which is too bad for an ensemble as good as this one. Maybe the infinitesimal four-viola repertoire has something better to offer.

Before the viola quartet, Rostad joined flutist Adam Kuenzel and pianist Wei-Yi Yang for an engaging performance of Maurice Duruflé's "Prelude, Recitative and Variations" (1928), a resolutely Impressionist work written in Paris during the Jazz Age, when Impressionism was but a memory. Despite his backward-looking style, Duruflé was a masterful composer, nowhere more so than in this beguiling trio.

Rostad dominated the opening with his gorgeous sound and commanding stage presence. The others soon proved his equal, and the three interacted seamlessly to bring forth Duruflé's languid melodies and emotive variations. All three displayed a light touch and a genuine feeling for Duruflé's intricate score.

The trio was in strong contrast to the opener that preceded it: Prokofiev's "Overture on Hebrew Themes" (1919), a commissioned work that sounds almost nothing like Prokofiev. The story goes that a Russian ensemble comprised of string quartet, clarinet and piano asked Prokofiev to write a melodic piece based on Hebrew tunes and even gave him a book of such tunes for inspiration.

The result--which Prokofiev disdained--is a medley of Klezmer-sounding ditties with sophisticated instrumentation. The piece gets more boisterous as it goes along, which in this case resulted in some overly loud passages that taxed the sonic limits of the relatively small performance space at Silverado Vineyards. Cellist Tanya Tomkins pierced the din with an outstanding solo that featured an intense and tight vibrato.

A much better sextet concluded the program, this one by Dvorak (1878). Written for two violins, two violas and two cellos, the sextet was published during Dvorak's meteoric rise to fame, and it features unbounded energy and confident writing throughout. At times, it sounds more like a string trio than a sextet. The first violinist, violist and cellist get all the prominent lines, supported by their fellow instrumentalists. There are also occasional duets for each type of instrument.

This structure proved ideal for highlighting the first chairs: violinist Arnaud Sussman, violist Roberto Díaz and especially cellist Brandon Vamos, who embodied the sextet's musical drive with sweeping gestures and intense facial expressions. His tone was beautiful, and his rhythmic sense was unfailingly precise.

The performance was magnificent. The dense texture of the opening movement can often sound muddy, but here each part was distinct and well coordinated, especially the lovely viola duet near the end. In the subsequent Dumka dance, the players displayed exceptional rhythmic flexibility, transporting listeners back to village dances in 19th-century Bohemia. So too with the ensuing Furiant, taken at top speed.

The players saved the best for last. The concluding movement proceeded from a stately opening in the violas and cellos to an increasingly complex set of variations that pulled deeper and deeper meanings out of the central theme. The last of these was an unbridled romp led by first violinist Sussman, who somehow marshaled everyone past the finish line in record time.

[Reprinted by permission of San Francisco Classical Voice.]