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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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...
CHAMBER REVIEW
Sporing Lake Village Classical Music Series / Friday, March 08, 2019
Florestan Trio. Hamilton Cheifetz, cello; Janet Guggenheim, piano; Carol Sindell, violin

J. Guggenheim, C. Sindell and Hamilton Cheifetz March 8 at Spring Lake Village

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, beginning with Handel’s G Minor Passacaglia for violin and cello in an 1897 arrangement by Johan Halvorsen. The variations were briskly played with much pizzicato and high register violin sound from Carol Sindell. Catalan cellist Gaspar Cassadó’s transcription of the intermezzo from Granados’ Goyescas followed, which cellist Hamilton Cheifetz announced was a piece familiar to him for decades, but only recently learned. Mr. Cheifetz’ tone was round over pianist Janet Guggenheim’s tremolos in the bass, and the juxtaposition of instrumental sonority was fetching.

Mr. Cheifetz introduced the Haydn Divertimento (arr. Piatigorsky) by speaking about his teacher Janos Starker, and the three section work began with a slow adagio rich in bottom register cello sound. The concluding allegro was played vigorously and with a lilting character. Ms. Guggenheim was a fluent and attentive pianist in this sparkling music.

Mendelssohn’s ever-popular D Minor Trio, Op. 49, was the concert’s chief work, and received a reading with a range of moods. Slow arpeggios in the piano part supported the opening melodious theme from Mr. Cheifetz and the music was alternatively melancholy and dramatic, though the violin part was not prominent and not always clear. Ensemble in the andante’s heart-on-sleeve was excellent. Surprisingly Ms. Guggenheim found some inner voices in the yearning romanticism, but as throughout the 1839 work little interest was shown in extended ritards.

The scherzo always has an “only Mendelssohn could have written this” effect, and the Florestan played it very well with small murmurs of appreciation from the audience. Musical momentum carried into the dance-like finale but here clarity was cloudy as the piano part tended to overwhelm the strings, especially when the violin needed more sonic projection. Phrasing was conventional and the attractive second theme was warm and compelling. It was a muscular interpretation of the Mendelssohn first Trio that at the same time was tastefully orthodox.

Prior to the Mendelssohn Ms. Sindell and Ms. Guggenheim played the John Williams theme from the movie Schindler’s List, and the lament of the beguiling composition moved over a long line to a beautiful ending high e note in the violin.