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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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 Festival’s opening concert July 17 this was best in evidence for two Beethoven works, the “Kakadu” Piano Trio and the seven cello variations based on a theme from Mozart’s opera “The Magic Flute.” Eric Zivian, Northern California’s premier fortepianist, brought two of his instruments (period copies) to the Hanna Boys Center auditorium and convinced even skeptical listeners of the fortepiano’s center stage role.

He began with a movement of Clementi’s 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 Mozart’s Opera “Magic Flute.” Titled Die Bildnis ist Bezaubernd, the music brought out Mr. Stegall’s 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 violinist’s 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 didn’t 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 Männern, welche Liebe Fühlen.” 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. Tomkins’ slow vibrato at the end of phrases. Mozart’s catchy tune with this duo became a cheerful delight.

Mr. Stegall returned to sing three Mozart Lieder. The short (45 seconds) Wie unglücklich 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 composer’s 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 auditorium’s breezy and sunny deck, a happy VOM tradition set to carry through the additional seven concerts of the second year of the Festival.