Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
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 ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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 ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
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...
CHAMBER REVIEW
Spring Lake Village Classical Music Series / Wednesday, June 21, 2017
Left Coast Chamber Ensemble. Tanya Tomkins and Leighton Fong, cello; Eric Zivian, piano; Anna Presler, violin

Left Coast Musicians A. Presler, E. Zivian and T. Tomkins

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 the well-known Music at Oakmont Series, and now he often mounts two Spring Lake Village concerts a month in an intimate setting with excellent acoustics. No other North Coast music productions can equal his seminal accomplishment.

The June 21 concert featured Berkeley’s Left Coast Chamber Ensemble and drew 125 people to the Montgomery Center on a warm evening.

Eric Zivian, perhaps Northern California’s most active fortepiano artist, played the house’s conventional concert instrument and opened in two works, first one of Schumann’s Six Studies after Caprices of Paganini, and then Chopin’s F Minor Fantasy, Op. 49. Played from score, the Schumann was full of swirls of arpeggios and passed without much notice, and the famous Fantasy received a workmanlike interpretation that stressed speed in runs at the expense of tone color, inner voices and an assertive left hand line. The half-pedal runs contributed to sonic speed but not clarity and shape.

The concert closed with arguably the most popular piano trio ever written, Mendelssohn’s D Minor, and the performance should have the evening’s gem. Loaded with memorable tunes and richly hued contrasts, the reading by cellist Tanya Tomkins, violinist Anna Presler and Mr. Zivian we beset throughout by problems of balance. Mr. Zivian’s playing from the beginning sporadically overpowered his colleagues, and Ms. Presler lacked a strong thematic projection to blend with the piano part.

The Ensemble’s best playing came in the andante where the sonic mix was fluid, but even with the Mendelssohn’s glorious heart-on-sleeve themes there wasn’t enough tonal warmth and rhythmic subtlety to make the performance rise above the routine.

Tempos in the first three movements were convincing but in the concluding finale the tempo was pushed, generating occasional smudged notes. This music can take high speed but it needs clarity in articulation. This lack of ensemble continuity missed many small delights, including the delicious left-hand accents in the piano line that the composer surprisingly inserted, and a cohesive interplay of instrumental voices.

Kodaly’s Op. 7 Duo for Violin and Cello was far and away the concert’s highlight. Cellist Leighton Fong and Ms. Presler combined to give this rarely heard 24-minute work a scintillating performance that never felt extended or the lack of additional instruments. Composed in 1914, the three-movement Duo seems in a direct line to Janacek’s string quartets, especially the “Intimate Letters” Quartet written in 1928, and Kodaly’s own powerful Sonata for Solo Cello (Op. 8) that Alicia Weilerstein played here several years ago.

In the opening heroicallegro serioso the repeats had ample rubato and each had a different but subtle character. Beautiful playing was heard throughout, ending in a fast march and pensive chords before light filigree. The instruments were in perfect equality. Kodaly is a master of string pizzicato and positioning the violin constantly in the upper register, with many long-held notes on the E string. Ms. Presler played the demanding part with aplomb, sometimes leaning into a note and alternating a narrow and thick violin sound. Both Mr. Fong and Ms. Presler were able to clearly project the many turbulent passages, especially in the cello line.

The playing in the plaintive adagio was captivating, the themes exchanged often between cello and violin, and the acoustics of the hall favoring clear articulation. Often the instrumental voices were many octaves apart, but were always distinct, especially in the many descending three-note cello phrases. The playing underscored the music’s sadness, and in strange way its theatricality.

The improvisatory introduction to the last movement (maestoso e largamente) opened quietly and became dance like in the duo’s interpretation. Here Ms. Presler was particularly effective with accurate intonation and deft phrasing. Themes dramatically soared upward and then quietly subsided. Both players were carefully sensitive to the frequent contrasts in this rapidly evolving music, and their virtuosity was compelling and everywhere enjoyable. Mr. Fong’s cello had everywhere sonorous depth, ranging from a deep bass line up into the viola sphere.

Spring Lake Village concerts often spring musical surprises, so finding the sensational Kodaly performance displacing the ever-popular Mendelssohn Trio should not have been startling. That’s surely a reason to be a musical explorer.