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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
CHAMBER REVIEW
Mendocino Music Festival / Saturday, July 09, 2016
Geoff Nuttall, violin; Stephan Prutsman, piano.

Violinist Geoff Nuttall

BACHANALIAN BEGINNING AT MENDOCINO MUSIC FESTIVAL

by Kayleen Asbo
Saturday, July 09, 2016

In ancient Greece there were two gods of music, representing two different musical principles. Apollo, God of the Sun, was associated with intellectual clarity, and his was a kind of music that focused on order, balance, refinement and mathematical precision. Dionysus (known to the Romans of a later age as Bacchus) the god of Drama and Drinking, was connected to music of searing emotional intensity: ecstatically joyful or tragic; blisteringly raw or comedic. Apollonian music is savored with the mind, which appreciates its formal constructs and subtle nuances. Dionysian music, on the other hand, affects the whole body: tears leak from eyes and feet begin tapping of their own accord in delight.

The best composers are a blend of both Apollo and Dionysus, with head and heart in perfect harmony. Bach, Beethoven and Brahms in part have become the pillars of the pantheon of classical musical because they embody both polarities in polyphonic perfection.

Too often musicians perform Bach as if he were all Apollonian intellect. Perhaps persuaded by the Haussmann portrait of 1742 where Bach looks like a dry, stiff and stern schoolmaster, they interpret his music as if it were only a brilliant academic exercise, playing from the wrists down and neck up. In truth, there has seldom existed a more passionate human being, and Bach was a man who outlived his first wife and buried ten of his twenty children. Grief was an omnipresent companion during his years, but Bach never lost the capacity to love, to laugh and to dance. Exuberant Bach family reunions consisted of singing four part chorales, dancing up a storm and sharing puns and jokes.

Violinist Geoff Nuttall and pianist Stephen Prutsman viscerally conveyed Bach’s sense of humor and vitality at the Mendocino Music Festival’s opening chamber music event July 9 in the big Festival tent in Mendocino. It was an ambitious concert that provided the rare opportunity to hear the entire collection of the Six Sonatas for Clavier and Violin, unduly neglected works that provide an encyclopedia of emotion. In their best moments, the artists captured the soul-searing tenderness of the arioso-like slow movements and brought a vigorous, infectious energy and joie de vivre to the intricacies of the technically demanding fugues.

The B minor sonata offered an intimate invitation to enter into a lament, almost as if the audience were overhearing a soliloquy. Mr. Prutsman’s understated use of the damper pedal (a most appropriate choice in translating the score from harpsichord to a modern instrument) helped establish a long legato line in the poignant descending repeated chords before the first sustained solitary and keening tone emerged from the violin and the instruments spun out the elegant and elegiac melody.

The dramatic shift between this opening dirge and the succeeding movement could not have been more dramatic. Throwing himself bodily into the Allegro Mr. Nuttall literally pounced on the downbeats and continued to dance his way through the buoyant rhythms to follow. At times this Dionysian approach sacrificed precision, control and intonation for physical intensity and comedy.

Following the infectious rendition of the fourth movement, where the duo admirably handled the rapid-fire passagework, it became clear why Mr. Nuttall is called the “The Jon Stewart of the Violin”. The artist wittily addressed the audience from the stage about Bach, offering insights into the succeeding works that were both comedic and insightful and captivated the near capacity crowd. For example, he offered a preview of the climactic section of the A Major sonata, demonstrating the difference between how it is written on the page (as a single chord accompanied with the word arpeggione) and how it is to be translated into performance, describing it as the violin’s “bluegrass moment”. He let it be known that he could not keep from dancing during this movement and invited the audience to jump into the aisles to join him.

It was tempting to take him up on his offer, and even the two pre-teenagers sitting in front of me were able to grasp and appreciate the unbridled exuberance of this performance, bursting into grins, and sitting on the edge of their seats as Mr. Nuttall threw himself with Dionysian abandon into the most difficult passagework.

Performing in a large tent yields many challenges, and finding the right balance between parts without adequate feedback from the stage is one. More disturbing were the interruptions that plagued the emotional epicenter of the program. The performers had prepared the audience to receive the tenderness of the Adagio ma non tanto of the E Major Sonata by deconstructing its parts. A third of the way into what promised to be the highlight of the day a percussive cell phone went off and thirty seconds later sirens from the nearby fire department blared, and towards the end of this exquisite playing they sounded again. Stalwart, the performers continued with unabated concentration, but it was painfully frustrating. I was reminded of T.S Eliot’s lines: Humankind cannot bear too much reality. The stark beauty of the naked spiritual vulnerability of the their oblation could only be perceived dimly through the veil of worldly cacophony. How I longed for the performers to repeat this work as an encore.

The recital’s second half offered many moments of delight: the C Minor sonata blossomed with an elegance and suppleness in the slow movements and the fourth movement ‘s polyphonic writing was treated with a much-appreciated lightness and grace in the piano (a quality I had longed for during much of the program). The fifth sonata’s Largo found the delicate balance between direct emotional expression and intellectual clarity and restraint, and the first movement of the final sonata had the audience tapping their toes once again.

We live in an age that seems almost pathologically afraid of silence. Much more silence was needed during this concert, not just listener silence or a reprieve from the occasional motorcycles rumbling outside the tent, but also more silence within the concert itself, before, during and after each sonata. Mozart said the most important part of the music was the silence, and taking the time to allow each movement to echo before immediately plunging into the next notes allows the audience to truly savor the sonic richness they have experienced. Quite often final notes in this performance were cut short to make a dashing and dramatic visual effects or to hurry to the next movement.

Perhaps the duo was afraid the audience could not tolerate such silence, and Mr. Nuttall quipped after intermission, “Wow, look how many of you stayed! I had a nightmare that this concert would be like the Haydn Farewell Symphony, with only two of us left on stage at the end”. He should not have feared, as the dynamism and engagement of the duo’s approach was palpable, and had immediate appeal to an audience. A woman next to me said as the standing ovation continued, “I was so surprised! I didn’t know that Bach could be so much fun!”

We live in a time where there is a need to create more passionate and informed listeners, and Messrs Nuttall and Prutsman did just that. Can you find more refined, elegant and delicate interpretations of these masterworks? Yes, Frank Peter Zimmerman, for one. However, I don’t know of any other performers who would have engaged, entertained and educated an audience so brilliantly. It was a triumph in that the duo succeeded in converting skeptical listeners to the concept that fugues can be fun, and that for sheer unbridled exuberance, Bach can be better than bluegrass.