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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
CHAMBER REVIEW
Valley of the Moon Music Festival / Saturday, January 27, 2018
Eric Vivian, piano; Tanya Tomkins, cello; Eric Hoeprich, clarinet; Catherine Manson, violin and viola

Eric Zivian and Eric Hoeprich Jan. 27 in Schroeder Hall (M. Moritz Photo)

VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER

by Terry McNeill
Saturday, January 27, 2018

Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Hanna Center.

Cellist and VOM cofounder Tanya Tomkins opened the concert with remarks to the audience about 19th century musical romanticism as it centered on the world of Robert Schumann. The afternoon’s first music was Gade’s Op. 43 Fantasias for clarinet and piano, and the three short movements were “echt” German Schumann lyricism in a beguiling performance by clarinetist Eric Hoeprich and pianist Eric Zivian. Mr. Hoeprich alternated crisp scales in the allegro vivace with yearning lyricism. This lush music was beautifully played, and soared in the ballade-moderato.

Two Schuman works followed, the Op. 132 “Märchenerzählungen” from 1854, and the more popular “Fantasiestücke,” Op. 73. The First (Fairy Tales) has four movements and uses piano, clarinet and the viola of guest artist Catherine Manson. Ms. Manson has a pure sound but tended to underplay and was occasionally covered by the piano and wind lines. Highlights were the lovely clarinet-viola duets with fast broken chords in the opening Lebhaft nich zu Schnell and Mr. Zivian’s rhapsodic playing of octaves and strong chords in the Lebhaft, sehr markiert finale. An outpouring of delicious warmth!

Concluding the first half were the three Op. 73 pieces, each one featuring a cello, clarinet or viola. Lyricism was again at the fore with these richly hued pieces, played as throughout the concert from score. Mr. Hoeprich’s instrument had the greatest projection, and the performers deftly chased each other’s phrases. There were no extended ritards and tempos were brisk, especially in the Lebhaft, leicht.

During intermission Mr. Hoeprich spoke to the audience about the 1841 piano on stage, and it’s applicability to the colorful Schumann harmonies. The sound he described was accurate, albeit with an often-muddy bass register, but the instrument didn’t pair well with the Brahms C Major Trio (Op. 87) in the second half. By the 1880s when Brahms wrote the Op. 87 work overstrung iron frame instruments were standard in Europe, including Blüthner, Grotrian, Schröder, Becker and preeminently Bechstein. Missing in the four movements was bass register clarity and a singing top end, as well as tonal strength.

But there were felicities in the inspired reading of the allegro moderato with sonorous string chords and contrasts with the piano part. Ms. Tomkins and Ms. Manson often had a “q and a” combination, and the three chords ending the andante were sumptuous. The scherzo featured lots of unison string playing and elegant phrasing, with echoes of the composer’s 1889 D Minor Violin Sonata.

The finale had references to the themes of the first movement and moved from spiccato bow work to big trio climaxes. Brahms' last movements, unlike lesser trio composers of the time (Rubinstein, Bruch, Taneyev, Gade, Lalo), are as good as his first movements.

Applause from the 105 attending was strong, but no encore was offered.