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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 / Saturday, July 23, 2016
Elizabeth Blumenstock, viola; Sadie Glass, horn; Holly Piccoli, violin; Kyle Stegall, tenor; Tanya Tomkins, cello; Eric Zivian, fortepiano

Eric Zivian and Kyle Stegall at VOM Music Festival Concert (J.Hefti Photo)

SCHUBERT'S THEMES OF YOUTH AND DEATH AT VOM MUSIC FESTIVAL CONCERT

by Sonia Morse Tubridy
Saturday, July 23, 2016

The beautiful new Hanna Boys Center auditorium in Sonoma Valley was the setting for the July 23 concert of the Valley of the Moon (VOM) Music Festival, now in itís second year. Directors Tanya Tomkins and Eric Zivian have created a Festival of Classical and Romantic repertoire played on period instruments or copies of same, all string instruments using gut rather than steel. This is now recognized as "historically informed " performance practice.

Great music and professional musicians would provide exciting concerts, but there is much more to this Festival. There is an apprentice program for young artists who are coached and then perform, not only in their own groups, but included with their teachers in all concerts. This new/old tradition breathes a wonderful vitality into VOM Festival.
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Titled Death and the Maiden, the all-Schubert program began with some of the composerís Lieder (he wrote over three hundred) from which tenor Kyle Stegall and fortepianist Eric Zivian chose seven. The songs†all explored themes of death and youth. Death is inevitable and wicked; youth and beauty are fragile. Mr. Stegall sang with great intensity of emotion in all ranges, and the audience and singer seemed completely engaged in the drama and beauty of the music and words.† Mr. Zivian accompanied with subtle touches and beautiful shadings of tone that are possible on the fortepiano. First on the program was Auf dem Strom which has a horn part as duet with the singer, one of only a handful of such compositions. Sadie Glass played the period horn with beautiful legato lines and exciting changes of color in this lyrical and dramatic piece. It was tender and moving. The balance of parts was exquisite. Mr. Stegall then continued with An Silvia (from Shakespeare) and then Verklarung (from Pope), ending with the line "Oh Death, where is thy sting?,ď†and sung in anguished fortissimo following a dramatic recitative and an almost whispered "Beloved spirit, come and rest!".

The singer at times seemed transported to other worlds, expressing the texts with gestures of voice, face, eyes, hands and body. Knowing German was not necessary for understanding the emotional journeys in Der Jungling an der Quelle and Der Jungling und der Tod . An eery and unforgettable moment occurred at the†end of the song Death and the Maiden, as Mr. Stegall very slowly raised his right hand out toward the audience and stared into the far distance.

After a short intermission the song Death and the Maiden returned as the beloved String Quartet in D minor, D. 810, in which the Lied is used in a theme and variations movement.† Ms. Thomkins (cello) and violinist Elizabeth Blumenstock joined apprentices Holly Piccoli (violin) and violist Liana Berube and produced a fine performance. The period instrument stringing and the style of playing that suits the music allowed for different shadings of musical lines. Sometimes the lines were quite intimate and even muted, with clear blended unisons and sometimes foggy effects, and provided fresh insights.

In the Allegro Ms. Tomkins was magnificent leading and supporting the Beethoven-like themes of passionate striving. Sweetly melting harmonies and dying dotted rhythms were effective. The Andante theme and variations traversed musical landscapes from tragic sadness to a beauty overcoming all. The variation featuring cello pizzicato and complex lively inner rhythms was outstanding. The Scherzo movement was played with effective harshness of tone and wild syncopations, and then the galloping Presto movement was energetic and compelling.
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After a reception featuring Beltane Ranch wines, there was a round table discussion led by KDFC FM radioís Rick Malone. Musicians spoke of the search for new forms of articulation on these instruments and the shift from gesture and dance in the Baroque to the psychological journeys, long lines and stories of Schubert and Schumann. Ms. Tomkins was eloquent in her description of her own journey to this area of historical performance and in describing the excitement of the apprentice program.