Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
CHAMBER REVIEW
Green Music Center / Saturday, January 30, 2016
Valley of the Moon Festival Musicians: Monica Huggett, violin; Tanya Tomkins, cello; Eric Vivian, fortepiano; Jodi Levitz, viola

Monica Huggett, Eric Zivian, Tanya Tomkins

SCHUMANN'S INTIMATE CONVERSATIONS IN SCHROEDER

by Sonia Morse Tubridy
Saturday, January 30, 2016

An ensemble of five outstanding musicians from Valley of the Moon Music Festival presented Jan. 30 a program "Schumann The Intimate Conversationalist" program to a rapt and delighted audience in Schroeder Hall.

On entering the hall there was on stage the sight of an exquisite Viennese fortepiano built in 1841. This instrument differs from a modern piano in many ways, including very little metal in its construction. The action and tone are lighter and the result is an instrument that blends wonderfully with string instruments. Cellist Tanya Tomkins and violist Jodi Levitz conversed with each other and the audience before the musical presentation, and they stated that Schumann wrote “music for the piano looms large" and "first radiance of new genius is found at the keyboard.” They explained that the three pieces on the program: Kinderszenen (1838), Trio in G Minor (1847) and Quintet, Opus 44 (1842) were written within ten years of the building of this piano and that this concert represented three aspects of Schumann's manifold compositional style.

Kinderszenen (Scenes of Childhood), a much beloved set of thirteen miniature poetic character pieces, were performed by pianist Eric Zivian. He played with fine expressiveness and intelligence, shaping each piece with subtle dynamics and great clarity. The gentle lyrical tone of this instrument that does not rely on power intensified the performance, the intimate conversation between composer and pianist reaching out to engaged listeners.

Ms.Tomkins and violinist Monica Huggett joined Mr. Zivian for the G Minor Trio. The violin and cello used gut strings and all instruments blended well with little vibrato use. This Trio heralds new compositional styles heading towards the 20th century with a spontaneous improvisatory feel replacing organized development of ideas. The first movement introduced an unusual trio sound in which the individual contrasting colors of the parts available with modern instruments were replaced by a communal blended sound based on the ideal in early music ensembles. One striking change was the subdued role of the piano in the ensemble, sometimes actually covered by the violin and cello. In this movement, surges of upward waves of sound in the piano supported passionate outbursts and singing string lines. The sound seems to emerge from a deep emotional place, almost diabolical at times, and with many small surprising gestures.

The second movement is a unique love duet filled with almost unbearable longing, the piano adding touches of bright highlights and filling in emotional moments in this conversation. A middle section was reminiscent of ominous realities before returning to the poignant love duet, ending with a musical sigh. Clara Schumann is said to have especially loved this trio and this afternoon’s performers were deeply engaged.

The short third movement features harmonically strange piano passages with the many long pedal markings working well on the fortepiano. A wild joyful tarantella balances the spooky outer sections which lead to the fourth movement marked Kraftig mit (humor). This last movement has a bit of everything: foot stomping folk vigor, lyrical cello passages turning the music sentimental, a vibrant march section and more. New ideas emerge and then disappear into familiar themes with new variations. The trio ends with bright optimism and the audience applauded enthusiastically.

After an intermission the musicians returned with violinist Carla Moore and Ms.Levitz for the Quintet in E Flat, one of the greatest in this genre. It took some adjusting to the lighter sound of this ensemble, in which the grand piano sounds usually heard were often in the background. The joy and exuberance of the first movement's opening were interrupted by contemplative and thoughtful piano statements with delightful amounts of rubato. There were the beloved cello/viola duos and a new take on the dark development section with strong string chords leading and piano passages a background rumble.

The second movement with it's solemn, staggering march led through different moods to the wild and furious episode in which an astonishingly intense viola rendition of the main theme leads back to quiet and peace. The Scherzo was taken at a breathtaking tempo with exuberance and power in which the viola part was once again an exciting driving force. The last movement was a demonstration of the new kind of beauty to be heard when the piano is not the main part but often a quiet and more bell-like presence. There was much charm in the trading of melodies and the brisk tempo gave great broad gestures to this grand finale.

Applause was plentiful for this fresh, enlightening and moving experience of Schumann's genius and humanity.

Nicki Bell contributed to this review.