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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...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
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.