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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...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHORAL AND VOCAL REVIEW
Santa Rosa Symphony / Friday, December 05, 2008
Santa Rosa Symphony, Sonoma County Bach Choir, conducted by Robert Worth. Soloists Carol Menke, Jenni Samuelson, Christopher Fritzsche, Jos Milton, Hugh Davies

Maestro Bruno Ferrandis

SR SYMPHONY, BACH CHOIR TRIUMPH WITH BAROQUE CHRISTMAS MUSIC

by David Parsons
Friday, December 05, 2008

On the final stretch of Venice’s Grand Canal, over the water from St. Mark’s, stands the gleaming white church of Santa Maria della Salute. On Nov. 21 every year, special masses are held at the familiar landmark church to remember the city’s deliverance from the plague of 1630, and a temporary votive bridge is erected over the Grand Canal. The celebration is one of the most heart-felt in Venice, and is called the Festa della Salute. It was probably for the first such ceremony, when the foundations were laid for the church in 1631, that Monteverdi composed his festal “Gloria à 7 Voci,” eventually published in his 1641 collection “Selva morale e spirituali.”

This past weekend, at three different Sonoma County churches, the anniversaries of this Gloria and other seasonal Baroque works were celebrated in truly festive style with members of the Santa Rosa Symphony and the Sonoma County Bach Choir, with Robert Worth conducting. This reviewer attended the Friday concert with a nearly full house at St. Vincent de Paul Church in Petaluma; the others were held at St. Eugene’s Cathedral in Santa Rosa and at Our Lady of Guadalupe Church in Windsor. Tempo and balance need to be carefully adjusted in the varying acoustics of these churches, but in the rich acoustic in Petaluma at least, conductor and performers rose to the occasion and allowed their ears to be their guides to what worked in the building. It was almost as if they were learning from the aural feedback as the evening progressed; a few balance problems between soloists and choir early in the Monteverdi were quickly resolved.

Owing to the situation of the pews and chancel rail at the front of the church, the orchestra and choir were behind the rail, whereas the soloists were in front of it, with Mr. Worth right in the middle at the chancel rail entrance. This meant that the soloists were slightly behind the conductor and had more than usual to use peripheral vision to see him. Further, when the soloists sat in the front pew between movements, they curiously had to turn around to sit with their backs to the audience. But to such seasoned singers as Carol Menke and Jenni Samuelson, sopranos, Christopher Fritzsche, countertenor, Jos Milton, tenor, and Hugh Davies, baritone, these logistical niceties did not pose a problem, and after a couple of ragged cutoffs in the Monteverdi, everyone got used to the situation. The only pronounced gaps between movements occurred in the second half of the concert, when some players had to clean their instruments.

The celebratory Monteverdi Gloria alternated choral and solo/duet sections, using permutations of combinations of soloists. The dazzling first exclamations of “Gloria!” ceded to the misterioso of “Et in terra pax” in long note values. The full chorus interpolated at places like the “Gratias agimus” and “Tu solus altissimus,” and further solo sections finally led to even more brilliant choral writing at “In Gloria Dei Patris, Amen!” All the vocal pyrotechnics were accompanied by the strings and continuo alone, without the complement of trombones that Monteverdi advertised as an optional performance addition. Although omitted from the program listing, Phebe Craig of UC Davis was the able continuo organist.

From festive visions of Venice in late November 1631, we moved to Paris at Christmas around 1690, when Marc-Antoine Charpentier was director of music at the Jesuit Church of St. Paul in the Marais district. It was the Christmas Eve custom in churches with a good organist to celebrate the Midnight Mass with a recital of noël variations beforehand. For his “Messe de Minuit pour Noël,” Charpentier went one step further and appropriated the music of 11 different noëls for his themes in the mass itself. These tunes lent the work a charming simplicity, and the congregation would surely have hummed along to the noëls they knew so well. Charpentier also created new material, such as the slow sections “Et in terra pax” at the beginning of the Gloria and “Et incarnatus est” in the Credo. It is a credit to the prolific composer’s genius that these quite different idioms are so seamlessly and convincingly blended together. Throughout the Messe the noël tunes are jaunty and tender by turns, perfect for the families who may have gathered for the Midnight service. Only in the Credo, at the more serious words “Judicare vivos et mortuos” does the character change from the childlike simplicity that we love.

For this work the choir and soloists caught the atmosphere of a candlelit late Christmas Eve: nothing overstated, nothing overbearing, but with due attention to the solemnity and joy of the occasion. The instrumentation—strings and continuo joined by two flutes—supports this less theatrical atmosphere, and more even than in the Monteverdi, the organ continuo gives the colors of the strings a new, transfigured aura. The acoustic at St. Vincent’s Church provided a perfect backdrop for these magical tone colors.

A touch of genius prompted Charpentier to take a noël with the text of “All citizens of Châtre, rejoice and be carefree; Be festive and enjoy this jolly day of peace; For Jesus Christ is born of the Virgin Mary” for the mass setting of “Laudamus te, benedicimus te.” The same touch is apparent in the last movement of the Messe, the Agnus Dei, sung at just about midnight, in which he sets the noël “A minuit fut fait un reveil”: “At midnight there was an awakening.” Can this be a subtle reference, both to the midnight hour and to the famous French midnight supper called the Réveillon, celebrated at home after Midnight Mass?

A few quibbles to pose for future forays into Charpentier and other French Baroque composers’ work: Are we certain what sort of flute would have been used in a Paris or Versailles church in the 1690s? Although the transverse flute that we know so well was available by 1690, a church ensemble was likely to be a bit more old fashioned than the up-to-date court, and the flutes in use were almost certainly recorders. Next time it would be nice to try the Messe with recorders. The organ interludes that are interspersed throughout the Messe are also based on noëls. It would likewise be lovely to use them in a future performance of the work.

American choirs expend effort working on their correct German and French pronunciation when they sing in those languages. Likewise they must learn how to pronounce Latin correctly. Much of the time when they sing mass settings, the composers are Italian, and they rightly pronounce the Latin in an Italian way. But what if the composer of Latin texts is French? A French Latin pronunciation is different, and gives a definite Gallic feel to the words. For this performance of the Charpentier, the singers used familiar Italianate Latin pronunciation, but it would not be difficult to learn the slight differences in pronunciation that would allow for a fitting French Latin approach.

Last quibble: In music, notes inégales (French: unequal notes) refers to a performance practice in which some notes with equal written time values are performed with unequal durations, usually as alternating long and short, making some rhythms “swing” more than they are actually notated. The practice was especially prevalent in France in the 17th and 18th centuries. It would be lovely to sing and play the Charpentier using notes inégales. The rollicking, jolly, folk-sounding noëls would be even more infectious with the more snappy inégales rhythms. Next time!

The second half of the program was devoted to Bach’s Cantata 36, “Schwingt freudig euch empor” (Soar joyfully aloft), dating from 2 December 1731. Our Baroque celebration thus spanned exactly a century, from 1631 to 1731. Although for this church work Bach reused music from earlier cantatas, he eliminated the earlier works’ recitatives in favor of chorales appropriate to the first Sunday of Advent. Thus there are four chorale movements, three of which are drawn from Luther’s hymn “Nun komm, der Heiden Heiland.” If the Monteverdi Gloria dazzled with its vigor, the opening chorus of the Bach was even more brilliant, with spiraling, rocketing figurations in the orchestra surrounding shouts of delight in the chorus. Nor were trumpets needed for these effects; the singers and strings were joined only by two oboes d’amore and bassoon on the continuo line.

The second movement was a setting of the first stanza of “Nun komm, der Heiden Heiland,” set for soprano and alto with the oboes and bassoon and continuo. The angular lines of the chorale tune, with its characteristic diminished fourth interval, make for tricky tuning, but the whole was handled with aplomb by Carol Menke and Christopher Fritzsche. The only aria in the cantata’s first part is for tenor with solo oboe d’amore and bassoon continuo; it is a charming dance-like movement, the text casting Jesus in the familiar role of bridegroom of the enraptured soul. Here Jos Milton shone, with gleaming high notes, through the text which Bach imposed upon the music taken from the earlier cantatas. The memorable rolling bass line in the setting of stanza 6 from the chorale “Wie schön leuchtet der Morgenstern,” which closes the first part, was clearly a favorite moment for the choir.

The strings alone accompanied the opening of the cantata’s second half, a jolly bass aria sung beautifully by Hugh Davies. Bach did the singer no favors with his text underlay here; breaths are difficult to come by amid the avalanche of notes, a problem that had not been so extreme with the texts of the earlier cantatas from which the music was taken. In the next movement, Worth had the entire chorus sing in unison on the setting of stanza 6 of “Nun komm.” In a very fast tempo, the two oboes and continuo create a trio sonata texture, against which the choir intoned the chorale in long note values. The most enchanting music of the whole cantata was in the following soprano aria, featuring Jenni Samuelson against violin solo and continuo. She memorably conveyed the haunting concept of the text, whereby the soul even feebly and alone can give praise to God. Nor did Bach neglect a tongue-in-cheek effect when setting the words “E’en with our muted, feeble voices Is God’s great majesty adored,” for he instructed the violin to use its mute throughout. The cantata closes with the eighth stanza of “Nun komm,” but Worth wisely elected to reprise the vigorous first movement after singing the chorale, as a fitting end to the evening’s celebration of Baroque Christmas music.

Busy Jenni Samuelson, Hugh Davies and the Sonoma County Bach Choir appear again with the Santa Rosa Symphony next weekend, singing Haydn’s Lord Nelson Mass, with Bruno Ferrandis conducting.