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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
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...
CHORAL AND VOCAL REVIEW
American Bach Soloists / Friday, May 01, 2015
Jerffrey Thomas, conductor. Gretchen Classen, cello. Elizabeth Blumenstock and Cynthia Black, violin; Ian Howell, counter

Countertenor Ian Howell

ABS CLOSES 26TH SEASON WITH POTENT BACH AND VIVALDI WORKS

by Terry McNeill
Friday, May 01, 2015

In a May 1 program that balanced vocal and instrumental virtuosity the American Bach Soloists closed their 26th season in grand style in Belvedere’s austere St. Stephen’s Church.

Led by the indomitable conductor Jeffrey Thomas the first half of the program featured a rarely heard cello concerto, a sensuous psalm setting and music’s most famous concerto for two violins. ABS concertmaster Elizabeth Blumenstock was joined by Cynthia Black in Bach's D Minor Concerto, BWV 1043, and the three movements all were at brisk tempos. Though sight lines in the vaulted concrete church are poor, the sound is direct if a bit muted, as the soloists use gut stringing. So brilliance is slighted in favor of ensemble, maybe
as Bach intended.

The violin line congruence reached its height in the plaintive Largo that lacked string vibrato but even at a fleet pace was gorgeous. Ms. Blumenstock was especially expressive with a deft left hand and trills,
Throughout the work the conductor’s sure hand never let the music linger, and cutoffs were always quick. No long fermatas allowed.

Vivaldi’s Nisi Dominus (RV 608) featured exceptionally lithe singing from countertenor Ian Howell, and there was perfect balance with the ensemble. In the second movementLargo Mr. Howell stretched the vowels to great effect, and subtly increased intensity in long upward passages that for me were mesmerizing. There is a lot of lament here, especially with the church acoustics favoring the continuo of cellist William Skeen and organist Corey Jamason, the latter playing the portable Brumbaugh organ and doubling all evening on an exquisite two-manual harpsichord. In this haunting work from the 1720s the upbeat Allegro sections were in sharp contrast with short recitatives from the violins and violas. Mr. Howell’s sweet voice didn’t need any more reverberation than the short one-half second of St. Stephens. It was a captivating performance that lent mystery to Psalm 127 of the text.

Completing the first half was a Cello Concerto in A Major by the unknown Neapolitan Leonardo Leo. The soloist, 2015 ABS award winner Gretchen Claassen, played the charming work with attention to detail and a quick and accurate left hand fingerboard technique. The music, passing by without much weight, seems to lead to the early Haydn C Major Concerto. It was lively and fluent.

Following the ABS’s usual gratis intermission gourmet finger food in the Parish Hall, two big Bach works completed the concert. The first, Cantata 169 (“Got soli allein mein Herze Haben”), was best. Here Mr. Jamason was the stellar player, and the conductor led the audience in singing the 16-bar Choral from the seventh movement. At times the organ scale passages and roulades were muddy but perhaps Mr. Jamison found it necessary to support the ensemble this way in short phrases. There were fetching duos with oboes, violins and organ.

With all the lovely vocal and instrumental playing it is easy to overlook the “glue” that makes ABS concerts so special, and that is Mr. Thomas’ conducting. Every time I have heard him he seems not so interested in vivid and loud contrasts, or unique inner lines, though his control of these factors in the Cantata and the D Major Orchestra Suite (No. 4) that closed the concert is sure and canny. What he is interested in is shaping the delicate rise and fall of phrases, never through histrionics trying to get more from the small ABS orchestra than the music dictates. His conducting shows a mastery of shading and noble proportion.

The last of the four Orchestra Suites is the least popular and in its five movements featured a plenitude of oboe parts, with performers Debra Nagy, Stephen Bard Brandon Labadie joining bassoonist Nate Helgeson in a feast for winds. The penultimate Minuet was especially bouncy but throughout I found the Suite an anti-climax to the glorious preceding music.

The audience in St. Stephens, though surprisingly for the ABS not a sell out, provided loud applause.