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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
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...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
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.