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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...
RECITAL REVIEW
Mendocino Music Festival / Thursday, July 14, 2016
Robert Henry, piano

Pianist Robert Henry

OF ANGELS, DEMONS AND ENCORES

by Kayleen Asbo
Thursday, July 14, 2016

Each successive event at this summer’s Mendocino Music Festival has brought an unfolding cornucopia of delights. Elements of the exceptional three previous classical programs coalesced July 14 into a magnificent and singular tour de force when pianist Robert Henry traversed the entire topography of the keyboard while offering humor, personal warmth, intimacy and musical perfection. It was an afternoon that braved every extremity of dynamics, technical demands and emotional landscapes. Evoking angels and demons at the keyboard, Mr. Henry also garnered the most rapturous response of the festival thus far: four standing ovations.

Speaking in a light Georgian drawl, the charming pianist introduced each set of pieces, at times demonstrating elements of what was to come from the instrument, and offering insights into both the composers and the music.

The afternoon opened with the understated performance of Haydn’s Sonata No. 38 in F minor. Here Mr. Henry was a paragon of Apollonian perfection, offering a balance of melody and accompaniment, crystalline runs and gracious trills that tapered beautifully at the ends of phrases in anticipation of the deceptive cadences. In his introduction, the artist referenced the importance of silence in creating Haydn’s witty style. Unlike Beethoven, whose sense of humor can be caustic, rude and bombastic at times, Haydn is always a gentleman, with musical jokes that are refined rather than course. This sonata is a wonderful example of the gracious playfulness that is Haydn’s signature, a trait Mr. Henry captured with delicacy and grace.

The tragic elegance of the Adagio showed a masterful control of balance and nuance as the music modulated back and forth through minor and major keys, conveying a quality of smiling through tears. It seemed as if Mr. Henry was challenging himself to play with even more expression and tenderness in the repeats, reaching inward to pull each masterfully crafted note from the depths.

The concluding Presto was all wit and whimsy, as Mr. Henry tossed off the rapid-fire passagework with an enchanting lightness of touch and deftness of articulation. There was not a note out of place, with plenty of dynamic contrast to enjoy throughout.

Overshadowed in our time by her older sister Nadia Boulanger (perhaps the most formidable composition teacher in the 20th century) Lili Boulanger was the first woman to win the coveted Prix de Rome award for composition. Tragically dying at 24, most of her surviving works are written for chorus. Mr. Henry offered the three surviving solo piano works that showed affinities with the music of the Impressionists, particularly her teacher Gabriel Faure. Each piece captured a “whiff of emotion”. The opening D’un vieux jardin (The Old Garden) unfolded in a hazy halo of languid tones, where the parallel open chords conjured memories of Debussy’s La Cathedrale Engloutie. The concluding Cortege brought a sense of bright, bubbling and syncopated rhythm and a vaguely Iberian sound. The set was beautifully rendered with sensitivity and fidelity to the score.

The first half came to a climactic conclusion with Carl Vine’s monumental Sonata No. 1, from 1990. Described by the pianist as a “Kitchen Sink” piece that uses all 88 keys, all three pedals and every piano technique I’ve ever encountered. It is a fiendishly difficult work of ferocious contrasts, alternating sections of brooding mystery and hypnotic slowness with percussive ostinato sections and clangorous quartal harmonies. The piece accelerates in a sense of growing apocalyptic terror, with repeated glissandi amid a perpetual mobile driving pattern buried in the lowest register of the bass.

It is a piece that rivals some of Liszt’s Transcendental Etudes or Hungarian Rhapsodies for sheer bravura passagework and physical demands. And yet, in the middle of such almost demonic intensity, Mr. Henry sat in calm repose. While his fingers flashed with a blinding speed and precision, his body remained relaxed and at ease, his face a mirror of implacable serenity. I was reminded of the story of the Buddha on the night of his Enlightenment, sitting in meditation as the demons whirled about. Because of his almost superhuman performance of this work and because of the excellent and engaging preface, the audience was able to hear this challenging work with rapt attention and admiration, standing enthusiastically (though seemingly stunned) at its conclusion.

The second half of the program offered a deeply personal and meditative interpretation of Robert Helps’ Portrait, composed in 1960. Once again demonstrating his versatility, Mr. Henry brought a transparent, ethereal quality to the chorale sections while building an explosive power in the dramatic crescendos.

The final piece on the program was Brahms’ epic Handel Variations, Op. 24. The 25 variations followed by a fugue were spun out with clarity and tonal beauty. It was all here: some variations conveyed a rhapsodic elegance, spinning a web of aching darkness. Others evoked a Hungarian circus with the snapping syncopations. Sounds of ethereal angels and lumbering elephants alternated, and throughout a sense of line and purpose we palpable.

The ecstatic audience, marveling at the poise, command and consummate musicianship of the artist, rose at the end of the fugue to cheer. Four ovations with three Chopin encores followed, performed with that rare combination of elegance, understated emotion and consummate technical prowess.

The ever-generous Mr. Henry personally shook hands with each audience member as they reluctantly left Preston Hall and a memorable afternoon.