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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
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
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
CHAMBER REVIEW
Valley of the Moon Music Festival / Sunday, July 15, 2018
Marc Schachman, oboe; Tekla Cunningham and Carla Moore, violin; Kati Kyme and Toma Iliev, viola; William Skeen and Tanya Tomkins, cello; Eric Zivian, piano

Festival Musicians July 15 Playing Mozart Quintet (Voices of Music Photo)

VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER

by Abby Wasserman
Sunday, July 15, 2018

A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few challenges and many rewards to the modern ear.

Festival founders and co-directors Tanya Tomkins and Eric Zivian inserted an unfamiliar treasure by Johann Baptist Vanhal between two familiar works by his younger contemporaries: Beethoven’s C-Sharp Minor Sonata, Op. 27, No. 2, and Mozart’s Viola Quintet in G Minor from 1787. All three men overlapped in Vienna during its prominence as the musical center of Europe.

We’re accustomed to hearing Beethoven on the modern piano, with its long tonal decay and brilliant resonance, so hearing Mr. Zivian play Beethoven on the small Mozart-era piano brought something fresh to savor. As Prof. Nicolas Mathew explained in a pre-concert lecture, music of the day was performed in small rooms to small groups.

They would have found Mr. Zivian’s instrument’s crystalline notes and lightness of sound perfect, but even in the medium-sized Hanna Auditorium, his sensitive interpretation felt intimate, expressing the sonata’s profound emotions. It was written in 1801 in an improvisatory style (“Sonata quasi una fantasia” is Beethoven’s title) when the composer was experiencing the anguish and fear of impending deafness. The iconic first movement (adagio sostenuto) that prompted a music critic to suggest the sobriquet “Moonlight,” has the rhythm and mood of a funeral march. Mr. Zivian played with delicacy at a tempo that seemed just right, holding the damper pedal (operated by the knee) throughout as Beethoven directed in his score, creating a subtle drone of sound that heightened the lament’s poignancy.

The second allegretto movement was almost insouciant in mood, though intimation of loss lurked at the edges. In the third movement, presto agitato, Mr. Zivian maximized Beethoven’s anguish and fury. Every note sounded with clarity; there was no muddiness of sound. Toward the end of the movement, after two low bass chords that seemed to express hopelessness, the pianist paused for a few beats. Then energy returned with the final furious runs and the end was like a pledge not to give up, shouted angrily into the wind.

The Vanhal Quartet for oboe and strings in F Major, Op. 7, No. 1, should be performed more often. It’s a celebration of great beauty by a prolific composer who was once the toast of Vienna—someone Mozart emulated and Haydn admired. The ensemble of Marc Schachman, oboe, violinist Carla Moore, Kati Kyme, viola, and William Skeen, cello, blended seamlessly and generously. The quartet is in four movements, and in the first allegro moderato a sweet, lilting melody is introduced which the oboe picks up and carries forward. Close harmonies follow in duets and ensemble playing. The second movement is simply glorious, one of the loveliest I’ve heard ever, and through which Mr. Schachman’s oboe line wove a spell. The third menuetto-triomovement began as a straitlaced dance, moving into something free-flowing and pastoral, with especially lovely pairings of oboe and violin. The fourth movement (presto) was a startling and harmonious explosion of sound. The appreciative audience, presumably most of whom were hearing Vanhal’s music for the first time, brought the ensemble back for three curtain calls.

A long intermission followed. The audience then heard Mozart’s String Quintet (Viola Quintet) in G Minor, K. 516. Before beginning, the players – Toma Iliev and Kati Kyme, violas; Tekla Cunningham and Carla Moore, violins; and cellist Tomkins – joined Prof. Mathew in speaking from the stage about the quintet form. Ms. Moore commented that this quintet is orchestral, with the extra viola filling out the sound and Ms. Tomkins revealed that the 1787 piece, so full of pathos and emotion, is rife with intimations of death and mourning.

The first movement, allegro, contains a plaintive theme that begins in unison and then passes from violin to violas to cello. Ms. Cunningham’s violin playing was unutterably sweet and rich, and Ms. Tomkins’ expressive use of rubato throughout the movement gave a poignant and emotional grounding to the music. The balance between the instruments was perfect and clear as they blended and then gave phrases and themes to one another. Particularly thrilling were the duets between Ms. Kyme and Mr. Iliev. The second movement Minuetto was played dramatically, with lyrical passages sliced by violent, accented chords. The third movement (adagio ma non troppo) is a funereal lament. Ms. Cunningham’s playing took the lead, and the quartet in turn followed. The depth of sorrow in this interpretation was heartrending.

The concluding movement, adagio-allegro, began with a lovely singing and deftly phrased lament by Ms. Cunningham. Surprisingly, the mood lightened and at the end the key shifted into G major rather than returning to the plaintive G minor, so that the piece ends on a positive and consoling affirmation.

It was an inspired and inspiring performance, and many in the audience gave a standing ovation. Following multiple curtain calls members of the audience and musicians met for gratis food and wine in the Center’s sunny patio.