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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 protťgťs 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 ďMy Brilliant Sister,Ē featuring Fanny Mendelssohn Henselís 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, wasnít 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 Chaussonís 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 ďAn Italian in Paris.Ē 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 Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís 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 Rosaís 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...
RECITAL REVIEW
Mastercard Performance Series / Friday, February 02, 2018
Nikolaj Znaider, violin; Robert Kulek, piano

N. Znaider and R. Kulek Feb. 2 in Weill Hall (JCM Photo)

ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2

by Terry McNeill
Friday, February 02, 2018

Weill hall has mounted several exceptional piano recitals, with Garrick Ohlssonís titanic Liszt concert, and of course Lang Langís two insouciant but also compelling performances topping the list since 2013.

But arguably the virtuoso violinists have on balance been more impressive, and thoughts go back to memorable nights from Gil Shahamís six Bach works, Anne-Sophie Mutter, Christian Tetzlaff, Yu-Chien Tsong, David McCarroll, Alexei Kenny, Benjamin Bielman, Caroline Goulding, Vadim Repin, Sarah Chang and Itzhak Perlman, each reviewed at Classical Sonoma. So it was for Nikolaj Znaiderís Feb. 2 recital with the exemplary pianist Robert Kulek.

Mr. Znaider established an immediate rapport with the audience of 250, chatting about the weather, leaning down from the stage to offer a lozenge from his pocket to a coughing fan, and charmingly excusing a woman that fled with hall with a cell phone blaring.

Musical matters began with a beautifully balanced performance of Beethovenís G Major Sonata, Op. 30, No. 3. Itís easy to overplay this charming work, even with the selected brisk opening tempo, but the duo never fell into this error. As throughout the evening Mr. Znaiderís impressive control of pianissimo blended well with the pianist, with the latterís piquant sforzandos and dry arpeggios. Here Mr. Znaider did not show a rich tone, and with minimal vibrato it wasnít needed. The light touch continued through the tempo di menuetto, and in the finale allegro dynamics continued to be narrow, with the effect elegant. Clearly this duo had perfect ensemble.

Prokofievís D Major Sonata (Op. 94) followed, beginning with intonation problems, but the violinist quickly found his footing and focused on the opening moderato with a skittish clarity and a blend of the composerís unique sugary-tart harmonies. The bantamweight ending was lovely. The presto was played presto with quirky high-speed slides and off beat accents, but never went off the tracks. The long diminuendo ending the andantewas perfectly graded and deliciously drawn out.

Al of the composerís characteristics were on display in the finale Ė sarcasm, irony, humor. Mr. Kulekís stressed the dissonances and occasionally covered the violin line. They played a slow ritard before the big lyrical theme that emphasized the underlying sadness of the music. In sum, a vibrant and committed reading of a masterpiece, and for me the concertís highlight.

Franckís great A Major Sonata from 1886 should have been the capstone to the concert, and nearly was. The introductory themes were calm and happy and quite slow, with Mr. Znaider using a wider vibrato and was content to let things flow, with differences in repeated phrases. Mr. Kulekís arpeggiated chords were deftly played. The famous allegro had many felicities with pedal point at the bottom of piano runs and a big ending upward flourish. What was missing were clarity in the right-hand piano runs, some violin notes not attacked cleanly, and most telling a tad lack of intensity in this most vehement movement.

Mr. Znaider introduced the moderato with a story of his five-year old daughter, and played the music (starting in D Minor and ending in F-Sharp Minor) ravishingly, with surprisingly less vibrato and echoes of first-movement themes. Ensemble was tight. The concluding rondo had a judicious tempo that spotlighted the many modulations, and the sprint to the end generated a standing ovation. It was odd that the Franck was played with score, as were the other programmed pieces.

Beginning the second half were four of Shostakovichís Preludes from his Op. 34, transcribed by Dmitri Tsyganov. Hey were fetchingly performed, especially the 2nd (the popular Prelude, with a dry sound); the 3rd (a march with Mr. Kulekís accurate skips); and the 4th (contrasting acerbic and frothy interjections by the violin).

Two encores were offered: Brahms Second Hungarian Dance in a rollicking gypsy rhythm virtuoso romp that brought down the house, and a sultry slow Heifetz transcription with Mr. Znaiderís best schmaltzy double stops.