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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...
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.