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...
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix.
Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series.
Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium.
Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations.
Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful.
Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium.
A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Organist Jonathan Dimmock
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at Sonoma State University. He is co-founder of American Bach Soloists and founding President of Resonance, which uses music in international conflict resolution.
The artist designed the program around Lutheran Chorales, which exemplify the profound effects of the Reformation on music, and Bach’s music played a central role. But Mr. Dimmock also featured music from other eras, starting with Sweelinck and continuing to Mendelssohn, Brahms and two modern composers, Bert Matter and Guy Bovet. Mr. Dimmock gave informative commentary throughout the recital and a projection monitor showed him playing at the console, giving the audience a sense of closeness to the performer who is located high above the stage and obscured by a portion of the organ.
Sweelinck’s Psalm 51: Erbarme dich, o Herre Gott - 6 variations (Have mercy on me, O Lord God) was a wonderful way to open the program. The chorale tune was clear in each variation and Mr. Dimmock’s expert choice of different registrations (sound color) for each variation was captivating throughout the piece. There was hearing a trumpet, then a singing principal and finishing with the sparkling overtones of a sesquialtera. Articulation is critical in bringing this style of music to life and Mr. Dimmock’s was impeccable, whether in the virtuosic runs or the serene slow sections. This was a perfect match of performer, music and organ.
Next came the first piece by Bach, the allegro (last movement) of his Concerto C Major, BWV 594, which is a transcription of Vivaldi’s Concerto D Major for violin. As you would expect from Vivaldi, it was very galant with Mr. Dimmock overlaying nice phrasing and agogic accents at the cadences. He also made good use of the organ’s two different keyboard divisions to contrast the tutti-ritornello and soli sections of the concerto.
Von Gott will ich nicht lassen (I shall not abandon God) by Dutch composer Bert Matter was a real treat. It starts with a simple statement of the chorale, which Mr. Dimmock played quietly, and then moved into a minimalist style, repeating short fragments of the chorale. It was absolutely mesmerizing. Mr. Dimmock’s control over the fast repeated notes never wavered, which allowed a listener to enter a trance-like state. He executed a convincing crescendo (with the help of organ stop-pullers) to a dissonant, fortissimo chord followed by an arrestingly stark silence. This was eventually broken by a short burst of minimalist figuration and a return to the chorale, which ended the piece with a soft, lush texture. It was a wonderful journey and definitely refutes the claim that “historically-informed” organs like the Brombaugh can only play music before 1750.
Bach’s Allein Gott in der Höh sei Her, BWV 676 (All glory be to God on High) from his Clavierübung III was the perfect piece to pair with the Matter, as it has a similar perpetual motion texture of running sixteenths throughout the piece. Its strict trio form can be registered to contrast the two upper voices, but Mr. Dimmock chose equal, but similar sounds for the voices, which created a fluid and transparent background from which the chorale melody would subtly emerge and recede. His playing was elegant and accurate for this tricky piece.
The first half closed with a monster by Bach, his Toccata and Fugue in D minor (“Dorian”), BWV 538. The Toccata bolted out of the gate on full organ and continued its relentless sixteenth note perpetual motion to the end. It is unique among Bach’s organ works in that it has authentic indications of where to change keyboard divisions for an echo effect, and Mr. Dimmock handled the many echo transitions seamlessly. According to the artist, the way we hear a Prelude (toccata) and Fugue played together today would be totally foreign to Bach, as they were rarely played together in his day. Therefore, the modern organist has a choice, do they continue the intensity of sound and energy into the fugue or do they create a contrast? Mr. Dimmock chose the latter, starting the fugue on the clean sound of the organ’s principal ranks, which allowed the counterpoint to shine through at the beginning, and then slowly adding stops to crescendo to fortissimo by the end.
The second half of the program explored the Romantic and modern eras with pieces by Brahms, Mendelssohn and Swiss organist Guy Bovet.
Mr. Dimmock paired the prelude from Brahms’ Prelude and Fugue in G minor and with his emotionally wrenching chorale prelude, Herzliebster Jesu, Op. 122, No. 2 (Ah, Holy Jesus). Brahms wrote very few pieces for organ and this combination provided a nice bookend of Brahms’ organ works, as the prelude was one of his early works and the chorale was one of his last. Mr. Dimmock did a fine job with the virtuosic arpeggios in the prelude and bringing out the rich harmonies of the chorale.
Mendelssohn’s Sonata VI for organ is based on Luther’s chorale, Vater unser im Himmelreich, which is his German paraphrase of the Lord’s Prayer (Our Father, who art in heaven). Mendelssohn was an important figure in bringing Bach’s music back from obscurity and one could sense his reverence for Bach’s art in the format of this sonata. It begins with a set of chorale variations, followed by a fugue, and interestingly, ends with a quiet andante movement. The artist played the first few variations with softer, more delicate registrations, giving the audience a feeling of the quiet before the storm that erupted on full organ in the last two toccata variations. The fugue followed on the clean sound of the principal pipes which allowed the interplay between the subject and countersubject to be heard clearly. The andante used the softest stop on the organ paired with the beautifully undulating tremulant, that gave it a serene, vocal quality.
The concert closed with a fun piece, Salamanca, by the Swiss organist Guy Bovet. Mr. Dimmock explained that Mr. Bovet would improvise a piece each year on his recital at the cathedral in Salamanca, Spain. One year the cathedral’s custodian asked him why he never improvised on a Spanish melody. So, the next year the custodian sang Bovet this melody and now it is played around the world. It begins by using a rhythmic tone cluster at the bottom of the keyboard to imitate a tambour (small drum) with the lively folk melody played on a high, fife-like sound. The organist did a great job of bringing the whimsy of this improvisatory piece to life at the beginning and then slowly turning that whimsy into the feeling of a wild dance through a crescendo to full organ and accelerando. It was a great end to the concert and fit the organ perfectly. The audience showed their appreciation with enthusiastic applause.
As an encore, Mr. Dimmock treated the Schroeder crowd to a lush, jazzy version of Erroll Garner’s iconic song Misty.