Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
RECITAL REVIEW
Redwood Empire AGO / Sunday, June 25, 2017
Robert Young, organ

Organist Robert Young

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 Director at St. Patrick’s Episcopal Church in Kenwood.

The artist designed the program around two of the giants of the stylus fantasticus, Buxtehude and Georg Böhm, both of whom had a profound influence on the development of Bach’s music that was featured in the third part of the program. Mr. Young gave informative commentary throughout the recital explaining how each piece exhibited the fantastic style as well as the relationship between the three featured composers. History now shows that Bach likely studied with Böhm and it’s known that the young Bach walked more than 250 miles to hear Buxtehude play.

Buxtehude’s Praeludium in G minor (BuxWV 149) is one of the best-known works of this style and was the perfect way to open the program. It is a text book example, starting with a free improvisatory section of technical brilliance for the hands and feet, which is followed by a quieter fugal section, then a quick ritornello bridge to a grand fugue and improvisatory ending. Mr. Young brought the piece to life with his spirited playing and expert choice of different registrations (sound color) for each section.

He finished the Buxtehude section of the program with one of his most beautiful chorale preludes, “Nun bitten wir den heiligen Geist,” BuxWV 208 (We now beg the Holy Spirit), which has the chorale melody as an ornamented solo in the right hand with imitative accompaniment in the left hand and pedal. It was the perfect antidote to the opening piece as Mr. Young used the quieter stops of the organ with a nice mutation and tremulant to give the melody an otherworldly feel.

Next came the first piece by Böhm, his chorale variations on “Auf meinen lieben Gott” (In my beloved God I trust). Böhm is credited with developing the Chorale Partita form and this set of four manuals-only variations was a perfect little example of his craft. While less free than some of the wild Praeludia of the time, it definitely exhibited elements of the fantastic style with the first variation opening with a flourish of running sixteenth notes and an ornamented melody followed by a fugal variation, which Mr. Young nicely contrasted with a spikey articulation on the first and a stately elegance for the fugue as well as with his choice of registration, choosing overtone laden mutations for the first and clean, clear principals for the fugue. The third variation was a bicinium (two-part piece) with an interesting basso continuo voice, highlighted nicely with a cornet stop, which accompanied a mostly unadorned melody in the right hand. The set finished with a grand trio that devolves back into a few measures of technical bravado showing that even when trying to be more restrained, the fantastic style still comes through!

The Böhm section finished with one of his non-partita chorale preludes, “Gelobet seist du, Jesu Christ” (Praise be to you, Jesus Christ) which provided a welcome moment of rest after the energetic partita. Mr. Young played on the quiet bourdon stops of the organ with a lovely legato touch for the accompaniment and a pleasantly nasal reed for the plaintive character of the melody.

Then it was time for Bach, but youthful pieces that still clearly exhibit the influences of the stylus fantasticus masters, Buxtehude and Böhm.

Bach’s “O Gott, du frommer Gott,” BWV 767 (O God, you righteous God) is one of his chorale partitas with many of the same figurations and textures of the Böhm example earlier in the program, but Bach is always extending things, including the chorale and eight variations! It opens with a simple statement of the choral which Mr. Young played on the organ’s singing principal sounds and continues through eight wonderfully different manuals-only settings of the chorale from two-part to trios to a grand finale which some have conjectured was influenced by the French dialogue organ style with contrasting forte and piano phrases. Mr. Young kept the listener’s attention with a wide array of registrations giving us a nice tour of the Casavant’s tonal palette.

The Bach section closed with his two settings of “Jesus Christus, unser Heiland,” BWV 665 & 666 (Jesus Christ, our Savior) from the Leipzig Chorales. Mr. Young’s interpretation of BWV 665 was very dramatic with near full organ in the manuals for the running sixteenth notes and a resounding reed highlighting the quarter note melody in the pedal. It was everything people expect when they think of organ music and Mr. Young did not disappoint. BWV 666 is more introspective with a lilting 12/8 meter and the melody unadorned in the soprano. The artist’s choice of a simple quiet flute stop allowed the listener to focus on the beauty of the figuration which moves from tranquil eighth notes in the beginning to flowing sixteenths in the last half of the piece.

The concert closed with Böhm’s most enigmatic piece, his “Präludium, fuge und postludium” in G Minor, which is equally effective on the organ or harpsichord. It is a wild piece and Mr. Young even commented that it looks crazy on the page and it took him a while to get his head around the work. The Präludium throws you off from the beginning as it starts on beat two of a triple meter and continues building up a relentless series of half-note chords from a single bass note up to six voices. The fugal section doesn’t provide any rest as the spritely subject keeps the energy going right into the postludium, which provides a mirror to the präludium with a series of downward sixteenth note arpeggios that drive to a chordal full-organ adagio. Mr. Young warned us not to clap too early as once we think the piece is over, there will still be the postludium to come.

It was a great end to the concert and the large audience showed their appreciation with enthusiastic applause. A member of the Vestry at Incarnation thanked Robert and said it was wonderful to have someone who can make their organ sing so beautifully each Sunday. There was no encore, which was welcome given the heat of the afternoon.