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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 ...
OTHER REVIEW
Mendocino Music Festival / Thursday, July 21, 2016
Susan Waterfall, pianist and lecturer

Tener Brian Thorsett

LATE BEETHOVEN EXPLORED AT MMF CONCERT IN PRESTON HALL

by Paula Mulligan
Thursday, July 21, 2016

The Mendocino Music Festival performance in Preston Hall July 22 was titled “Late Beethoven,” and was the final presentation in the tribute to the composer that was part of this year’s Festival.  Pianist Susan Waterfall has been giving a series of lecture dealing with Beethoven’s life and music, and the final event concentrated on the works he produced in the last fourteen years of his life.

Beginning the program was tenor Brian Thorsett with pianist Miles Graber performing the cycle of six songs, An die ferne Geliebte. The lyrics express the composer’s feelings of loneliness and rejection, but finally evolve to a resolution that leaves him forever devoted but accepting his fate.   Mr. Thorsett has a fine lyrical tenor voice that never shows strain, and his voice floats easily in his upper range and descends with full sonority into the upper register of a baritone.  In addition his performance was infused with tender feeling and wistfulness that perfectly suited the text and music.

The E Major Piano Sonata (Op. 109) written in 1820, and was  beautifully played by Ms. Waterfall, after an enlightening verbal introduction by the performer which seemed helpful to audience to understand the music and its relevance to that period of the composer’s life.  It was a performance of renunciation, resignation and finally acceptance.  Ms. Waterfall‘s elegant and passionate interpretation showed the turbulence and conflict of two battling themes that describe the impossible relationship the composer longed for. Even as the work resolves itself into acceptance, it is not without the scowl and growl in the left hand line that merges with the sweet remembrance of what is no more.   

The final work was one of the famous “Late Quartets” that Beethoven wrote in the last two and a half years of his life.  The Peregrine Quartet chose the A Minor Quartet, Op. 132. The work is in four movements, beginning with a modified sonata form Allegro leading without interruption into the second movement. The mellow opening note from cellist Burke Schuchmann was immediately followed with the layered buildup from Alexander Volonts’ remarkable viola tone, then Tingting Gu’s gentle but insistent second violin, and finally topped with Tammie Dyer’s silvery upper register violin sound, light flexible and airy.  Ms Dyer illustrates that one can lead and guide a chamber ensemble without relying on volume and dominance, but rather on a gentle and profoundly moving sound that guides her fellow musicians into a unity.    The insistent phrase in this first movement is passed around to each member of the quartet  and is repeated in two recapitulations. 

The second movement has a similar plaintive motif that is repeated throughout, and the inner voices carry the smooth flowing line with ornaments above from the first violin and comments from the cello below.  The playing of the second violin and viola are often not in the forefront but they are the bonding glue that holds everything together. Ms. Gu’s sound is just as authoritative, yet with a different tonal quality than Ms. Dyer’s. Her subtly accented entrances made each inner phrase stand out.  Mr. Volonts viola has a large and magnificent sound and he showed admirable restraint and unleashed the instrument’s full power only in the angry fortissimo passages, which created a powerful dramatic contrast to the more subtle and wistful parts of the 1825 work.

Beethoven wrote the third movement as a “Holy Thanksgiving for his healing” after a near death experience.  The sound here is somber, transparent and almost sacred.  The birdlike exchanges between the first and second violins floated above the viola and cello’s pizzicato punctuation. The dancelike opening of the final Allegro Appassionato showed the skill of the musicians with clean attacks, wonderfully synchronized pauses, and  passion with restraint.  It is good to be reminded that the silences in music are often as important as the music itself. 

The late Beethoven quartets are complex and challenging, and the Peregrine more than met the challenge for a deeply satisfying concert experience.