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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
CHORAL AND VOCAL REVIEW
Sonoma Bach / Friday, November 20, 2015
Sonoma Bach Choir, Live Oak Baroque Orchestra. Robert Worth, Director. Elizabeth Blumenstock, violin

Sonoma Bach Conductor Bob Worth

A STERLING REQUIEM PERFORMANCE IN TRES

by Terry McNeill
Friday, November 20, 2015

Mounting a production of the Mozart D Minor Requiem (K. 626) poses difficulties absent from the usual 50-plus minute performance time. Historical questions abound concerning authorship, placement of musical sections and even the murky commissioning process.

Director Bob Worth moved to solve these difficulties in a Nov. 20 concert in Sonoma’s St. Andrew Presbyterian Church by a unique trifecta. First he conducted the Sonoma Bach Choir and Live Oak Baroque Orchestra in short snippets illustrating the composition. More formerly, he then presented the Requiem with four soloists as Mozart composed the work, abruptly stopped on the death date of Dec. 5, 1791.

Following intermission Mr. Worth conducted the Requiem in its most common format, as completed by Joseph Eybler and Mozart’s associate Franz Süssmayr. Süssmayr’s compositional style and handwriting are quite close to that of Mozart, and the music in both versions unfolds with uncanny similarity.

Acoustics in the white-hued a-frame church had little reverberation and from my seat featured the low string frequencies; with the delightful exception of Elizabeth Blumenstock’s solo violin passages. The orchestra’s standout instrumental sections were the trombones of Richard Van Hassel, Ernie Rideout and Bruce Chrisp, and two basset horns (played by Diane Heffner and Thomas Carrol). Mr. Worth controlled precise attacks and releases all evening and the 46-member Choir sang with power and stylistic penetration. Among the soloists (soprano Dianna Richardson, alto Karen Clark, tenor Kyle Stegall and bass Ben Kazez) Ms. Clark was especially prominent with distinct Latin diction and elegant phrasing.

In the final 50-plus minute Requiem the ensemble’s energy didn’t flag and the understated support of timpanist Kevin Neuhoff and Henry Lebedinsky’s continuo organ were crucial. This is a declamatory work laced with sadness and the four soloists, positioned between the conductor and the audience of 150, were everywhere strong. The pulsating four-chord passages, repeated three times in the Offertorium, were telling. There are short fugues throughout this piece, many leading to lovely descending lines ending in trombone solos (not always together, with Mr. Chrisp the standout) and surging bass and cello playing.

A standing ovation came with the last cutoff and Mr. Worth happily acknowledged selected Orchestra members and his soloists. It was a convincing combination of scholarly presentation and captivating music making.

The multi-faceted Requiem was repeated Nov. 22 in Petaluma’s St. Vincent de Paul church.