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VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
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 Hall’s residen...
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 Sebastopol’s 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...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Chamber
ADVENTUROUS BACH AND PENDERECKI IN MUTTER-ORKIS WEILL RECITAL
by Terry McNeill
Friday, March 02, 2018
German violinist Anne-Sophie Mutter returned to Weill Hall March 2 in a recital curiously different than her appearance on the same stage several years ago, and also dissimilar to a recent San Francisco concert with a heroic Respighi Sonata performance. On a rainy night before 700 fans Ms. Mutter ...
Chamber
BEETHOVEN'S MAJESTY IN TAKACS QUARTET CONCERT
by Terry McNeill
Sunday, February 25, 2018
Greatness in a single musical composition carried the day Feb. 25 when the Takács String Quartet played Beethoven in Weill Hall. Sweeping aside two first half pieces, the Takács tackled Beethoven’s penultimate Quartet, the monumental C-Sharp Minor, Op. 131, written in 1826. From the first notes (<...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
CHAMBER REVIEW
Musicians from the Valley of the Moon Music Festival / Saturday, February 11, 2017
Eric Hoeprich, clarinet; Tanya Tomkins, cello; Eric Zivian, piano; Catherine Manson, violin and viola.

Clarinetist Eric Hoeprich

GOOD OLD WINE IN GOOD OLD BOTTLES AT VOM CONCERT

by Jeff Chan
Saturday, February 11, 2017

February 11 was the first day of sunshine in Sonoma County after nine days of rain, but a nearly full house of music lovers chose to spend their afternoon in Schroeder Hall instead of being outside, soaking up the warm sun. There were two equally compelling reasons to attend this concert, which featured clarinetist Eric Hoeprich, violin/violist Catherine Mason, cellist Tanya Tomkins and pianist Eric Zivian playing a fortepiano: to hear these musicians in a live performance, and to hear them make the case for playing classical-era chamber music on the instruments that were in use at the time the music was written.

The program’s first work was Beethoven’s C-Sharp Minor Sonata (“Moonlight”) that served as an excellent introduction to the characteristic fortepiano sound and the soundscape featured in this concert. The fortepiano differs from the modern piano in several ways: he sustaining pedal is located under the keyboard and is operated by the knee, the strings are thinner, the action is lighter, and the hammers are covered in leather. The resulting sound is lighter and doesn’t sustain as long as the sound from a modern piano.

Beethoven noted in the Sonata’s manuscript that the first movement should be played senza sordino which for a fortepiano meant without string dampers. Currently that would mean “hold the sustaining pedal down without lifting your foot throughout the first movement.” No one playing that movement on a modern piano would consider doing that of course, because the resulting sound would be muddled from start to finish. But because the fortepiano’s “sustain,” even with pedal, is so much shorter, Mr. Zivian’s playing was not muddled, but instead had a dreamy and mysterious atmosphere. The remaining movements were pedaled and articulated in the way we’re accustomed to hearing. It was riveting to hear such a familiar piece performed on the instrument for which it was composed.

The remainder of the program consisted of trios written for various combinations of clarinet, violin, viola, and fortepiano: Mozart’s E-Flat Major (K. 498) trio for clarinet, viola, and fortepiano; Beethoven’s Op. 11 trio for clarinet, cello and piano; and one of Haydn’s exquisite piano trios, H.XV.23. These pieces are normally performed now on a modern piano, a modern clarinet, and on more-tightly strung violin and viola using modern bows.

Ms. Mason and Ms. Tompkins appeared to be using instruments with lower string tensions, and the instrumental bridges and fingerboards looked to be lower than those of modern instruments, and classical-era bows with lower tension on the horsehair produced a sound that balanced well with the fortepiano. In addition, the two women used a compromise position to hold their bows, lower than the Baroque style, but not directly on the frog as in the modern style. Mr. Hoeprich played one of his many period clarinets, an instrument with only five keys and no rings, and a much shorter than modern-style reed, held on the mouthpiece with string as the ligature.

The Mozart Trio (“Kegelstatt”) was played with verve and precision, and the performer’s use of subtle improvisation and ornamentation not present in the printed music provided additional excitement. Mr. Hoeprich's sound had more depth and edge than expected from a period instrument, an improvement on the muffled tone quality of many period clarinet performers. Instrumental balance was an issue, with the clarinet at times overpowering the fortepiano and hiding Mr. Zivian’s dexterous finger work.

It’s no surprise to most listeners that the Haydn work in D Minor (H.XV.23) demonstrates inventiveness and charm. The andante molto first movement is a theme and variations and the composer takes the structure a step further and writes a movement using two themes and sets of variations, one in D Minor and the other in D Major. In the vivace finale a shifting strong beat presages the contemporary practice of a changing meter. This performance featured a wonderful sense of balance between all three instruments and a cohesive interpretation of deft elegance.

The program’s conclusion featured Beethoven’s B-Flat Major Trio that some in the audience may have heard Jan. 29 in Weill, performed by the Kalichstein-Laredo-Robinson Trio. In the "Gessenhauer" trio the clarinet replaced the violin, and to this reviewer the clarinet version feels more convincing, but this may be because I perform on the clarinet. As with the other pieces on this program, the playing of the 1797 work featured wonderful ensemble and instrumental communication.

Is it better to play classical era music on instruments from the period rather than modern instruments? Would Mozart have written for the modern piano if one had been available for him? Or does that even matter? We can argue these questions, but to this reviewer it’s not a matter of “better,” but a matter of “different,” and appreciating the difference. What keeps period instrument performances from being just a novelty? When they are done as well as were done in this ensemble’s Schroeder concert.