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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
CHAMBER REVIEW
Sonoma State University Department of Music / Sunday, August 24, 2014
Eugenia Wie and Joseph Edelberg, violin; Judyaba, cello; Kathleen Reynolds, flute; Eric Caballo, guitar; Marilyn Thompson, piano

Violinist Eugenia Wie

FACULTY AND COMMUNITY MUSICIANS JOIN IN SCHROEDER CELEBRATION

by Terry McNeill
Sunday, August 24, 2014

Though many of the inaugural Schroeder Hall concerts had larger audiences than the Aug. 24 faculty and community musician event, few of them had such lovely music on display.

Some of the best were first, with ravishing music from SSU guitarist Eric Cabalo and Santa Rosa Symphony violinist Eugenie Wie. This fetching duo played Piazzolla’s “Historie du Tango” with bandoneon concertina effects and rich sonority. Ms. Wie played with minimal vibrato, and Mr. Cabalo exhibited subtle control of pianissimo and elegant phrasing. Stefane Grappelli and Django Reinhardt could not have played Piazzolla’s delicious piece with more charm.

Joining Mr. Cabalo in his own “Event Horizon” were his guitar students Kenny Campbell, Brandyn Klinect and Cody Martin. The composer described the work as having an astrophysical character with Lydian key instability. The work was never dissonant, and it had a repetitive and minimalist design and some snappy hand slaps on the guitar body. It was a novel and accomplished piece for guitar quartet, astutely played.

Brahms’ opening Allergo Moderato from the C Minor Piano Trio, Op. 87, was played by SSU faculty pianist Marilyn Thompson and cellist Judiyaba, along with Santa Rosa Symphony violinist Joseph Edelberg. It was a brawny reading, emphasizing the two string parts' alternating vigorous chords with the piano. I wanted to hear the concluding two movements of a composition best heard on a cold winter’s evening.

Two short guitar works with new performers Henry Alonzo and Patricia Castaneda came before a beguiling Jean-Michel Damase concert sonata for flute, cello and piano. Symphony flutist Kathleen Lane Reynolds played the work with an easy virtuosity, carrying the thematic weight away from Ms. Judiyaba and Ms. Thompson.

This happy concert sonata from 1952 has strains of the palm court and the café, the many sprightly sections demanding a deft touch from each performer. Ms. Judiyaba was perhaps too differential playing the bass line, but Ms. Thompson was as always a sure-footed and consummate pianist. The rapid movement toward the end of the sonata spotlighted Ms. Reynolds’ masterful command of tonal colors and animated rhythms. Her flute playing in symphonic or chamber music is always vivacious and prismatic.

Though not a full house, the Schroeder audience gave loud applause to these shapely and accomplished performances.