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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 / Saturday, July 16, 2016
Christopher Atzinger, piano

Pianist Christopher Atzinger

BALANCED VIRTUOSITY IN ATZINGER MMF RECITAL

by Terry McNeill
Saturday, July 16, 2016

Pianist Christopher Atzinger’s Mendocino Music Festival recital July 16 in the small Preston Hall looked formidable on paper larded with what might be said to be “non festival, non summer” music.

There were no light Gershwin or Schubert dance works, and for some the six pieces from Brahms’ Op. 118 are winter compositions that need ample cold, rain and fog. However, the Minnesota-based pianist paid no attention to this pedantry and played an echt 118, with the opening Intermezzo full of sweep and drama, followed by the subtle rhythms of the Intermezzo in A. A highlight was the E-Flat final Intermezzo where he captured the mournful mystery of the work but his formidible pedal technique occasionally blurred the surging left hand line. A spot in the sun.

The center of the afternoon’s program was the last work, Barber’s massive Sonata (Op. 26) from 1949. The performance clocked in at just over 20 minutes, slower than the seminal Browning recording and much slower than the pyrotechnical Horowitz version. But the piece needs the “air” that Mr. Atzinger provided to allow the lyricism to penetrate the many Fortissimo sections, especially in the opening Allegro. Adopting a furious pace in the skittish Vivace Mr. Atzinger easily moved into a ravishing reading of the Adagio, playing often the bell-like bass notes in pedal point and with a natural rise and fall of phrase.

In a period of pause he seemed to gird himself to do battle with the final movement’s dissonant and complex fugue, and he conquered it. Clarity of voices is critical here, not easy to do with the volcanic bass chords, but all went to a thrilling and thunderous conclusion. The interpretation and virtuosity in the Barber were among the best I have ever heard.

The nearly full Preston audience responded with an ovation, and Mr. Atzinger played one encore, a new-age bagatelle where inane up and down progressions seemed fatuous after the magisterial Barber.

This one lapse in taste never pervaded the recital’s other performances of Mozart’s B Flat Sonata (K. 570) and Chopin’s F Minor Fantaisie, Op. 49. The Mozart was especially good with judicious tempos and a warm tone from the mellow house piano. Mr. Atzinger played three cultivated ritards in the opening Allegro that demonstrated that he was not bound to a strict classical interpretation, and the following Adagio his control of gradations of sound and several novel “turn” figurations were superb. The Allegretto featured contrapuntal lines and spicy accented dissonances, understated but always telling.

The Chopin Fantaisie received a performance heavy on vocal statements, as the best Chopin always should. The famous heroic second theme was played with ardor and care, and the march sections at a fast clip. Changing gears, Mr. Atzinger played the Choral part with an unusual differentiation of voices, the main theme’s repeat quite fast and in a romantic gesture held the damper pedal lovingly before the three last phrases.

Leading to intermission was a Toccata from Canadian composer Pierre Jalbert, composed in 2001 and sounding like a required piano competition piece. But it was no less interesting for that, and though clamorous at times it had whiffs of the Ligeti Etudes. Mr. Atzinger’s command of left-hand block chords mixed with swirls of ringing right-hand notes was intoxicating.