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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
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.