Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
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 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.