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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 protégés 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 “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s 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, wasn’t 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 Chausson’s 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 “An Italian in Paris.” 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 Festival’s 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 Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s 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 Rosa’s 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
Green Music Center / Friday, February 08, 2019
Joshua Bell, violin; Sam Haywood, piano

Joshua Bell (l) and Sam Haywood Feb. 8 in Weill Hall (Brennan Spark Photography)

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 technique, precise intonation and powerful thematic projection. An easy rapport between the two was a joy to hear and observe.

Beethoven’s enigmatic fourth Sonata 4 in A minor, Op. 23, opened the program. The intense first movement, presto, launches into a gallopy dialogue from which thematic poignancy emerged with a sense of fleeting beauty. Beethoven began the sonata in 1801 when his hearing was deteriorating, and his anxiety at the time likely made its way into the work. Mr. Bell did not emphasize the sadness implicit in the first movement but let the character of the minor mode, in which most of the movement is written, predominate.

In the following andante scherzo, piu allegretto, brief fragmentary declarations moved back and forth between piano and violin, and a fugue section resolved effectively in trills from both instruments. In the concluding third movement, the instrumental voices sang an allegro molto operatic duet with the music’s lyrical longing undercut by ominous rumbling. The three-note ascending figurations in the Sonata seemed to question whether to go forward or give up, but the spritely motive from the first movement returned, and all was resolved suddenly and quietly. An impressive and intriguing reading.

Prokofiev wrote his stunning D Major Flute Sonata in 1942, and Soviet violinist David Oistrakh suggested the composer recast it for his instrument, giving it the opus number 94a. As performed here it was a revelation. The first of four movements (moderato) is characterized by transcendent leaps and slides and insistent rhythms, with the theme repeated in different registers and reinvented countless times, but the score also contains a certain claustrophobic feeling.

In the second scherzo, presto a wild dance ensues, leading toward a lyrical section where the violin part mimes bird trills and calls. Spring and rebirth are suggested in the music, with an undertone of unease, and the performer’s flying fingers brought the Sonata to an exciting close, inspiring some of the audience to break into applause. The artists paused until the enthusiasm abated, then proceeded to the sonata’s romantic andante in which the opening theme is reiterated with exotic harmonies and figurations characteristic of the composer. The Sonata’s finale was thrilling, with Sisyphean ascents and precipitous violin downslides. Both the last two movements are fashioned classically and emotionally “cool,” and the work ended quietly, as though with philosophical resignation.

Following intermission the artists returned to perform Grieg’s Sonata No. 2, Op. 13, a work from 1867 that isn’t played as much as the C Minor Op. 45 piece written 20 years later. The first lento doloroso movement initially reflected a dirge that settled into something quite cheerful as a mini-cadenza in the violin part stated the theme and broke into a Norwegian folk dance. Mr. Bell’s bow exhibited a light touch that underscored the music’s joy with leaps and hops of phrasing. In the second movement the violinist’s interpretation showcased quick emotional changes, and his playing in the closing allegro animato featured piquant pizzicatos, dark tonal colors and deft phrases that built momentum to a thrilling conclusion.

The audience erupted in applause. After three curtain calls, Mr. Bell addressed the audience, kindly inquiring about the condition of a patron who had fainted and been taken out during the Beethoven. He then continued that he and Mr. Haywood would finish with three short encore works, and proceeded to Clara Schumann’s Romance, Op. 22, No. 1, which he played with poignant grace and heart-stirring warmth, blending beautifully with Mr. Haywood’s soft arpeggio chords and elegant phrasing.

Joachim’s arrangement of the Brahms first Hungarian Dance came next, and here the violinist gave way to his gypsy soul, playing with dramatic verve and convincing rubato. The last encore was Wieniawski’s Scherzo-Tarantelle, Op. 16, a show-stopper work that was played at turns playfully and fast, with lyrical interludes, and always with brilliant technique. Mr. Bell told the audience that he had recently returned to it after many years. It had been part of his first youthful recital decades ago.