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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
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, December 13, 2008
Bruno Ferrandis, conductor; Kymry Esainko, piano soloist. SRS Honor Choir with vocal soloists Jenni Samuelson, Bonnie Brooks, Scott Whitaker, Hugh Davies

Santa Rosa Symphony pianist Kymry Esainko

A THREE-COURSE FEAST FROM SR SYMPHONY

by David Parsons
Saturday, December 13, 2008

Maestro Bruno Ferrandis, the Santa Rosa Symphony, the symphony’s Honor Choir and four vocal soloists served a hugely rewarding feast of hearty fare for our holiday delight this past weekend. Haydn’s Symphony No. 94, nicknamed “Surprise,” opened the varied program, and its elegant structure and imaginative orchestration set the tone for the whole evening.

At Saturday night’s performance, after a couple ragged entrances, the strings found their bearings in the lyrical introduction to the quick and dance-like first movement, holding off on their heavier vibrato much of the time. For the theme and variations which make up the second, “surprise” movement, the anticipation and the audience giggles which accompanied the famous sudden fortissimo chord gave way to delight with the increasingly complex variations. The third movement minuet is so quick that it feels like a rollicking folk dance, really a Ländler. Yet another “contredanse” flavor infects the energetic last movement, with the country-like mood interrupted only briefly by stormier harmonies toward the return of the main rondo theme and at the beginning of the coda. Altogether, the Haydn symphony was a perfect and ingratiating opening to the evening’s feast.

For our next course, the orchestra was joined by its principal pianist, Kymry Esainko, in Bach’s Concerto No. 1 in D minor. I wondered, when looking at the concert grand piano being rolled on the stage, how the downsized string orchestra would manage to balance with it, but from where we sat, the balance turned out to be excellent. There are those who might opt for a harpsichord to play a Bach concerto, but then the string ensemble would have to be even smaller, and thus there would be greater audibility challenges for listeners in a large hall.

Esainko and Ferrandis carefully adjusted balance to keep the piano’s lines clear when they were in lower registers. In typical Bachian fashion, the vigorous opening and closing movements evolve an immensely complex musical structure out of the tiniest motivic kernels. The haunting keyboard “aria” which forms the second movement cries out for a “sustaining” melody instrument like the violin or organ. Still, Esainko made the piano sing with a judicious use of the sustaining pedal and a sensitive feel for the elaborate ornamentation on the contours of each phrase.

The feast continued after intermission with Haydn’s “Lord Nelson Mass,” considered by his chief biographer to be “arguably Haydn’s greatest single composition.” Because of a shortage of musicians at the Esterházy court at that time, it was scored for just strings, trumpets and timpani. Haydn accepted later editors’ additions of what they perceived to be missing woodwind parts, and it was this expanded scoring that the symphony played.

In 1798 Haydn was at the height of his fame as Europe’s greatest composer, and he had an annual obligation to write a festive mass for the wife of Hungary’s Prince Esterházy. But Europe was not in a jovial state of mind, with Napoleon winning multiple battles in Austria, and even threatening Vienna itself. Haydn therefore named this a “Mass in Time of Distress.” Leading up to the September celebration when the mass was first heard, Napoleon’s possible invasion had been at least temporarily overturned by Admiral Horatio Nelson’s defeat of the French fleet in the Battle of the Nile. Nelson visited the Esterházys two years later, and may have heard the mass performed again at that time. According to legend, Nelson asked Haydn for the pen with which he had composed the mass, in exchange for a golden watch. Thus the nickname “Lord Nelson Mass.”

The mood of foreboding that hung over Europe shadowed even Haydn’s usually sunny outlook in this, his only mass in a minor key. The trumpets have key roles in almost all the movements, sounding their alarms. The Kyrie is the keynote of this tone of fear in the face of disaster. The Gloria is a relief from these terrors, and its tone of exultant praise reflects Haydn’s simple and clear faith in the God who is above the dangers of the world. Even in the Gloria, however, after its optimistic opening, the music shifts to a cautious E minor at the words “et in terra pax—and on earth peace.” Likewise, the bass solo beautifully sung by Hugh Davies at “qui tollis peccata mundi—that takest away the sins of the world” begins with B-flat major, but does not take long to shift to G minor and D minor at the words “miserere nobis—have mercy on us.”

In the canon that begins the Credo, the altos and basses repeat exactly the music sung by the sopranos and tenors. It is a Bachian sort of device, an ingenious way of providing reinforcement for the statement of belief. The most dramatic and ravishing part of the Credo is the lovely soprano solo “et incarnatus est—and he was made incarnate,” to demonstrate the idea that God took on human form and lived on earth—the center of the Christmas story. Here, soprano Jenni Samuelson’s singing provided an especially poignant moment.

In other masses, the Benedictus is often relatively inconsequential, but in this mass it becomes a grand procession for the heavenly messenger “who comes in the Name of the Lord.” We are back in D minor, and the trumpets again sound their ominous warning, reminiscent of the Kyrie, but finally the specter of war vanishes with the jubilation of D major, in “Osanna in excelsis.”

Soloists Jenni Samuelson, Bonnie Brooks, Scott Whitaker and Hugh Davies had an extended chance to shine in the Agnus Dei, an intimate and personal prayer for mercy. At the soloists’ last notes, the choir’s demeanor brightened, and then, with but one quick beat to take their breath, the altos launched the choir into the vivacious “Dona nobis pacem—grant us peace.” The depths of despair in the Kyrie lead to the confidence of peace at the end of the mass. We may be in times of distress, but there is always hope for the future.

Phebe Craig played the organ continuo for the mass, though she was not noticed in the program. Regrettably, from our seats her small chamber organ was inaudible except for one or two moments when accompanying solos. Perhaps a bigger instrument would better suit the need in such a large hall.

I find it hard to argue with those who feel that the “Lord Nelson Mass” is Haydn’s finest work. Ferrandis, the symphony, the Honor Choir and the soloists are to be saluted for this worthy conclusion to a splendid holiday feast.