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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 ...
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 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.