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Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
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 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.