Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
CHAMBER REVIEW
Valley of the Moon Music Festival / Saturday, July 28, 2018
Monica Huggett and Rachell Wong, violin; Marc Schachman, oboe; Sadie Glass, horn; Andrew Gonzalez, viola; Christian de Luca, fortepiano; Kate Van Orden, bassoon; Eric Hoeprich, clarinet; Tanya Tomkins, cello; Eric Zivian, piano. Apprentices TBA

Violinist Monica Huggett

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 Festival apprentice fortepianist Christian De Luca performing Beethoven’s Violin Sonata Op. 24 (“Spring”). This Sonata, as Ms. Huggett told the audience in humorous and lively introductory remarks, has exemplary violin writing, and she gave a nuanced and spirited performance with liquid scales and lyrical tone in profusion. Violin and fortepiano traded themes, intertwined, contrasting and reinforcing each other. The two parts were always clear and balanced in the opening allegro. The second movement was played with heartfelt tenderness and the forward-moving tempo supported masterful melody shaping. Then the intensely rhythmical and cleverly syncopated scherzo was delightfully played. The final rondo was played with careful matching of articulation and beautiful phrase shaping. The main theme appeared in different guises and myriad delightful forms. The audience gave this performance a standing ovation and bravos.

Hummel’s Clarinet Quartet in E-Flat Major (S. 78) followed. Erich Hoeprich, on an historic replica clarinet he crafted, joined 2018 Laureates Rachel Wong, violin, violist Andrew Gonzalez and Festival co-founder Tanya Tomkins on the cello. Hummel was a Mozart and Haydn protégé and in this Quartet of about 28 minutes he integrates the clarinet into the chamber group rather than contrasting the wind sound against the strings, a remarkable achievement of the composer and of these performers.

The first movement (allegro moderato has a charming opening, the themes being traded with classical clarity reminiscent of Mozart. The music is vibrant and bubbly, and has some mystery and changeable moods of passion and drama. All the while the instrumental voices interacted and created a unified sound rather than flights of individualism. The second movement was in tarantella style, played with precision and outstanding wild passages, especially from the cello. The andante third movement featured playing of lovely legato phrases. The mood was pleasant and the interpretation was beautifully understated. The rondo was full of musical gestures of the Classical Period. Particularly effective were passages pairing the violin and viola and the continual blending of clarinet and strings. This Hummel Quartet from 1807 certainly could inspire listeners to become acquainted with more of his compositions. Once again there was a standing ovation.

After the intermission Beethoven’s unique piano/woodwind quintet, Opus 16, was performed by Marc Schachman, oboe; Mr. Hoeprich, hornist Sadie Glass; Kate van Orden, bassoon; and Festival pianist Eric Zivian. This piece was inspired by Mozart’s quintet for the same ensemble and in fact, Mozart seemed to be an unseen inspiring presence throughout the afternoon. Beethoven’s opening (grave) was rhythmical and crisp, the piano exhibiting its power without competing with or overpowering the wind ensemble. This led into an allegro of relaxed spontaneity and large gestures, occasionally evoking dreamy worlds. Modern instruments can make this writing sound like a piano concerto, but here it was a fresh collaborative sound. An extramusical moment of drama was the breaking of a fortepiano string, but Mr. Zvian assured the audience that the music could be carried on with the note’s remaining string.

The andante movement is certainly one of the most beautiful pieces in chamber music repertoire. The fortepiano opening theme was very expressive and led to the wind instruments reiteration with their full and forceful tone. Thereafter each instrument was featured in a solo: Mr. Schachman’s rich oboe tone, Ms. van Orden’s mellow bassoon, the distinctive colors of horn and clarinet all singing out, then all rising on a chromatic tide together to bring back the fortepiano with new elegant ornamentation. The third movement is a rondo romp with typical hunting horn harmonies, tossing of ideas back and forth, with phrases calling for play, dance, and to rejoice. The tempo was well chosen and the music was performed straightforward, direct and full of optimism.

A reception with wine and happy company concluded the afternoon of a musical visit to the world of palaces in Vienna and Prague of the 18th century. Bravos to Valley of the Moon Festival musicians! “Aufwiedersehen” next summer.