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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
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Chamber
ADVENTUROUS BACH AND PENDERECKI IN MUTTER-ORKIS WEILL RECITAL
by Terry McNeill
Friday, March 02, 2018
German violinist Anne-Sophie Mutter returned to Weill Hall March 2 in a recital curiously different than her appearance on the same stage several years ago, and also dissimilar to a recent San Francisco concert with a heroic Respighi Sonata performance. On a rainy night before 700 fans Ms. Mutter ...
Chamber
BEETHOVEN'S MAJESTY IN TAKACS QUARTET CONCERT
by Terry McNeill
Sunday, February 25, 2018
Greatness in a single musical composition carried the day Feb. 25 when the Takács String Quartet played Beethoven in Weill Hall. Sweeping aside two first half pieces, the Takács tackled Beethoven’s penultimate Quartet, the monumental C-Sharp Minor, Op. 131, written in 1826. From the first notes (<...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
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.