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Chamber
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...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
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 REVIEW
Valley of the Moon Music Festival / Saturday, July 22, 2017
Kyle Stegall, tenor; Elizabeth Blumenstock, violin; Tanya Tomkins, cello; Jeffrey LaDeur and Eric Zivian, piano

Pianist Jeffrey LaDeur and Cellist Tanya Tomkins July 22

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 Sonoma attended the first concert.

Following lengthy introductory comments by pianist Eric Zivian, the artist played Bach’s first Prelude from the Well Tempered Clavier, and followed with Chopin’s first Prelude from the Op. 28 Preludes. The Bach was played with accented first notes in each bar with rock solid tempo and no forte at the climax. Both were played on a Mozart-era instrument copy, frequently featured in concerts by Mr. Zivian along with a c. 1841 grand. The Chopin playing was lovely with a soft arpeggiated last chord.

Tenor Kyle Stegall, violinist Elizabeth Blumenstock and cellist Tanya Tomkins joined Mr. Zivian in the six-minute “Ich Traue Seiner Gnaden” from Bach’s church Cantata In Allen Meinsn Taten, BWV 97. A judicious tempo allowed Mr. Stegall to artfully swell on the first note of each stanza, over a clear meandering violin part and the ground of the cello and piano lines. He sang without score during the entire concert.

With Roy Malan Ms. Blumenstock must be the most performing of Northern California violinists, playing frequently in festivals and baroque orchestras. She closed the first half with the monumental Chaconne from Bach’s D Minor Partita, BWV 1004. Bach was surely on fire when he wrote it, but Ms. Blumenstock’s small-scaled reading from score was persuasive but not to everyone’s taste. She used minimal vibrato, usually at the end of phrases, for small emphasis and to highlight transitions. Double stops were drawn out in a smooth, non-insistent approach that didn’t have a note above mezzo forte throughout. It was the slowest interpretation from a virtuoso in recent memory. The audience of 200 applauded warmly.

Schumann, the ostensible subject of the two-week Festival, wrote Six Studies for Pedal Piano, Op. 56, in 1845 for the now extinct piano with pedals and strings under the conventional instrument. Liszt had one in Weimar, and versions of the six include various groupings of instruments. Two-piano performances are occasionally heard, and here the music was divided in two groups of three – violin, cello piano; one piano, four hands. The “Nicht zu Schnell” had an improvisatory character, and the second supported a long, laconic theme with each instrument trading voices up to two chaste piano chords. The third (andantino) had the most Schumann character in a “call and response” mode. Echt German romanticism.

Jeffrey LaDeur took the treble piano part (though Mr. Zivian kept the damper pedal) and both gave an authoritative account of the final three Etudes. The first had Mr. LaDeur carrying the themes through a surprising modulation, and the jazzy Nicht zu Schnell was a low-key dance drama. The stately slow adagio clearly exposed the fugues that mostly ended with trills. It was low voltage playing of elegance.

In a program with lots of individual pieces the viola wasn’t forgotten as Andrew Gonzales played Schumann’s Rasch from the Märchenbilder, Op. 113, with fellow Festival apprentice Jennifer Lee at the piano. Mr. Gonzalez had a big sound, ranging from a will-of-the-wisp skittish bow to delicate slides on notes for emphasis.

The viola work past without much interest, where the following two Chopin Songs from Op. 74 were some of the highlights of the afternoon. Mr. Stegall sang one of the two most famous from the set of 17 (“Moja Pieszczotka” – My Joys or My Delights) in richly hued and distinct Polish, with an extended delicious ritard before the second stanza. He made a strong case for this tenor version rather than the more popular light soprano. The following “Melodya” was sung with unique rhythmic verve and a delicate postlude from Mr. Zivian.

The duo followed with two Schumann songs, Widmung (from the Myrthen set of Op. 25) and “Im Rhein, im Heiligen Strome.” Both were sung beautifully, especially the second from arguably Schumann’s greatest work, the Op. 48 Dichterliebe. Mr. Stegall is a master of dark contrasts, and Mr. Zivian’s long postludes were alluring and everywhere lovely.

Two more works finished the long program: Liszt’s popular transcription of Schumann’s Widmung song, and the largo from Chopin’s Cello Sonata in G. Mr. LaDeur played a subtle and perfectly phrased Widmung, never forcing the fortepiano’s sound but managing to give the impression of the greater sonority of a modern concert grand. It was fastidious pianism.

Ms. Tomkins played the short cello movement with the appropriate heart-on-sleeve ardor, using a wide vibrato. Most of the five-minute piece is in the lower register, and Ms. Tomkins made the most of her instrument’s deep sound and the beguiling theme. It was the melody that presumably most of the audience had in their ears on the way home from a unique and satisfying festival experience.