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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHAMBER REVIEW
Mastercard Performance Series / Saturday, October 24, 2015
Academy of St. Martin In The Fields Chamber Ensemble

Academy St. Martin In the Fields Chamber Ensemble

EMSEMBLE PERFECTION IN ST. MARTIN ACADEMY WEILL CONCERT

by Terry McNeill
Saturday, October 24, 2015

With the social and musical glamour surrounding the recent Lang Lang and Joshua Bell recitals in Weill, the Academy of St. Martin in the Field’s eight-musician chamber ensemble's Oct. 24 concert came as a calming musical breeze.

Known to lovers of fine orchestral playing through their scores of recordings, the Academy from London made their local debut with three works that spotlighted refinement and taste rather than high drama. What better way to begin a showcase of distinctive string playing that Rossini’s Sonata in sunny G Major? I have heard the work, purported to have been written at age 12, performed with forces larger than the quartet heard here. But it worked splendidly, the tempos throughout not fast and the lean sound convincing. In the Andantino the final three chords from four instruments were delicately in sync.

The lively concluding Allegro was deftly played with the low sonorities from double bass player Linda Houghton and cellist Stephen Orton carrying well in Weill.

Another small ensemble, this time a quintet playing Mozart’s E-Flat Major work for horn and strings (K. 407), closed the short first half. There is a lot of elegant soft playing in the 1784 work, but with contrasting and often dominating horn playing from Stephen Stirling. The first movement and much of the additional two are almost a concerto for horn, with standout playing of melodious sweetness in the Andante by solo violinist Tomo Keller and duo violists Robert Smissen and Harvey De Souza. The bell of the horn faced to the gallery at the back of the stage but the adroit Mozart sound wasn’t adversely affected.

The finale featured assertive phrasing with horn and violin in dance character, with impeccable phrasing and ensemble.

A short first half turned after intermission to a long but heavenly Schubert Octet (D. 803). The sonic addition of clarinetist Timothy Orpen was welcome after so much luxuriant string playing, and the six movements unfolded with inexorable care and chaste voicing. The unison playing throughout was exemplary and Mr. Keller and De Souza were ever energetic, with the former exhibiting a coiled and then uncoiled ballet with his body and bow.

In the Adagio the clarinet’s lovely opening theme passed over to the violin, and in a duo soared in a Mozartian manner, supported by the horn and bassoon. In this movement there was a richly striking double bass solo over pizzicatos in the higher strings. Perfection.

Much of the Octet has small dance sections with often “question and answer” refrains (the scherzo-like movement 3 and the Andante variations) and the Academy seemingly caught every nuance. Some Octet themes appear initially banal but the composer develops them with mastery, and the performer’s artistry produced a consummate whole. The slight menace of the Menuetto and the controlled power of the finale (Andante Molto), a happy march, were compelling Schubert playing. Polished playing abounded, even in the difficult and constant changes in volume and rhythm.

The sensuous and noble performance produced the only standing ovation of the evening from the surprisingly large audience of 800. Why surprising? With no star soloists or blockbuster repertoire the Academy was able to draw a big house solely from it sterling reputation and enchanting playing.