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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
CHAMBER REVIEW
Valley of the Moon Music Festival / Sunday, July 17, 2016
Kyle Stegall, tenor
Elizabeth Blumenstock, violin
Tanya Tomkins, cello
Eric Zivian, fortepiano

Eric Vivian and Tanya Tomkins Play Beethoven July 17 (John Hefti Photo)

PERIOD INSTRUMENT SOUND AT VOM FESTIVAL'S OPENING CONCERT AT HANNA CENTER

by Terry McNeill
Sunday, July 17, 2016

Every summer music festival has a unique character, and the Valley of the Moon Music Festival in Sonoma has the singular character of stressing period instruments that sound well for mostly period repertoire.

In the Festivalís opening concert July 17 this was best in evidence for two Beethoven works, the ďKakaduĒ Piano Trio and the seven cello variations based on a theme from Mozartís opera ďThe Magic Flute.Ē Eric Zivian, Northern Californiaís premier fortepianist, brought two of his instruments (period copies) to the Hanna Boys Center auditorium and convinced even skeptical listeners of the fortepianoís center stage role.

He began with a movement of Clementiís B Flat Sonata, Op. 24, No. 2, with fluid scale playing and balance in the registers. Key dip in a c. 1795 instrument is less than a modern piano, allowing for rapid rippling scales, clipped phrasing and assured ornamentation. The cadenza was short.

Mr. Zivian, heard in every work on the program, then joined tenor Kyle Stegall in a brief aria from Mozartís Opera ďMagic Flute.Ē Titled Die Bildnis ist Bezaubernd, the music brought out Mr. Stegallís rich sonority, excellent German diction and his skill at swelling delicately on soft notes. It was charm with strength.

Gut strings are a required item for most Festival music at Hanna, and the Mozart Major Sonata for Violin, K. 526, was played with these strings by Elizabeth Blumenstock, again with Mr. Zivian at the piano. In the Molto Allegro the violinistís tone was thin and often covered by the piano, with ends of phrases fading away and little rhythmic flexibility. It went this way through the Sonata, though in the Andante the duo played lovely balanced pianissimo phrases.

This reviewer has heard the violinist many times before, mostly with the renowned American Bach Soloists, and in music with less required vibrato and projection the result has been impressive. This afternoon, even during the Presto finale, the violin articulation didnít save a timid sound. This reaction may simply be too deep an association with classical recordings of the A Major with more powerful steel strings, from Grumiaux/Haskill and Schumsky/Balsam.

After intermission Festival founder and cellist Tanya Tomkins joined Mr. Zivian for the buoyant Variations on Bei Mšnnern, welche Liebe FŁhlen.Ē Here Ms. Tomkins' instrument also had gut strings but had a strong bottom end sound and that was agile but different from a differently strung cello. The phrasing throughout was deft and Mr. Zivian, in a long introduction to the fourth Variation, inserted brief tasty ritards, meshing well with Ms. Tomkinsí slow vibrato at the end of phrases. Mozartís catchy tune with this duo became a cheerful delight.

Mr. Stegall returned to sing three Mozart Lieder. The short (45 seconds) Wie unglŁcklich bin nit (K. 125g) found him almost in a baritone range, and the Lied der Freiheit (K. 506) was bouncy and animated, with crystal clear diction. Song three was certainly the highlight, and the warm Abendempfindung (K. 523) had a questioning plea over soft arpeggios from Mr. Zivian, and ascending and descending soft scales from Mr. Stegall. It was the longest song and caught a plaintive and sad character. Applause was heavy.

Ending the concert was the G Minor Beethoven Trio, Op. 121a, with Mr. Zivian using a Mendelssohn-era piano. Following a long somber introduction the music is light hearted, and the trio played it that way. Ms. Blumenstock at times used a Spiccato bow in variations with clipped phrases and each variation seemed to ease naturally into then next one.

Thematic projection qualities from the violin and cello fit the 1824 work perfectly, though the top notes in the piano had a peculiar electric piano tone quality without partials. The composerís phenomenal command of the variation form was everywhere in evidence, and the Accelerando to the end brought the concert to a vivid close.

There was no encore and refreshments were served on the auditoriumís breezy and sunny deck, a happy VOM tradition set to carry through the additional seven concerts of the second year of the Festival.