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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...
CHAMBER REVIEW
Mill Valley Chamber Music Society / Sunday, March 24, 2019
Fauré Quartet. Dirk Mommertz, piano; Erika Geldsetzer, violin; Sascha Frömbling, viola; Konstantin Heidrich, cello

Fauré Quartett at Mill Valley March 24 (A. Wasserman Photo)

RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT

by Abby Wasserman
Sunday, March 24, 2019

Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, performed by the Fauré Quartett from Germany in Mill Valley Chamber Music Society’s season closer at the Mt. Tamalpais Methodist Church.

The Fauré (Dirk Mommertz, piano; Erika Geldsetzer, violin; Sascha Frömbling, viola; and cellist Konstantin Heidrich) presented penetrating readings of works by Mahler, Fauré and Brahms (plus a tantalizing quasi orchestral encore). They opened with Mahler’s one-movement Quartettsatz in A Major, composed in 1876 when he was sixteen. It is elegiac and passionate, and this was a particularly nuanced reading that despite the repetition of its motifs and themes, was never boring. Mahler apparently didn’t think much of it, and after his death it was discovered under a stack of papers by his widow Alma. He may have intended it to be the first movement of a larger work but that never happened, and no other chamber ensemble work by Mahler survives. The quartet was not performed publicly until 1964.

Beginning with a brief spare, thoughtful piano introduction, the strings joined and soon the piano introduced repeating triad chords in the right hand as the left played a somber bass melody; this would be repeated further on. There were many mood and tempi changes as the main theme was explored. The music moved through turbulent emotions, and seemed at times like an obsessive meditation on life and death, with passion and tenderness. Ms. Geldsetzer’s playing showed an astonishing range, summoning multiple shades and many voices. Mr. Frömbling’s viola sang brilliantly, and Mr. Mommertz’s virtuosic pianism was at turns sweet and thunderous. Throughout the work Mr. Heidrich’s cello grounded the interpretation with a golden sonority. The audience was silent when it ended, waiting for the musicians’ bows and hands to be lowered, then breaking into appreciative applause. It was hard at that moment to imagine a more nuanced or heartrending reading of the piece.

Fauré was celebrated during his lifetime but little appreciated outside of his native France, and international recognition came later. The Piano Quartet in C Minor, Op. 15, was first performed in 1879, though the last movement was revised in 1883. It was written straddling highs and lows in his life. The first movement, (allegro motto moderato) is like a happy conversation among the four instruments. The melody wanders blithely, sometimes with a distinct Ravel-like air, and ends gently. The allegro vivo scherzo has exciting pizzicato sections while the piano line leaps and gambols and takes thematic precedent. There are short spurts of close harmony in the strings while the piano leads a merry chase. The third movement adagio reflected the sorrow of Fauré’s broken engagement, with sighs and wistful recollections of happiness now lost. Toward the end, the piano phrases wandered up and down in this landscape of loss, then finally found strength and resolve, and the movement ended philosophically. The last movement (allegro molto) was taken at a brisk tempo, with dazzling scale passages by Mr. Mommertz. The piece resolved finally in the key of C Major. At the conclusion the audience, which nearly filled the hall, stood in excited ovation.

The very first performance in 1861 of Brahms’ G Minor Piano Quartet, Op. 25, featured pianist Clara Schumann. It is a profound work with a royal feeling, simultaneously complex and transparent. The composer Arnold Schoenberg orchestrated the piece in 1937, and his impulse to do so is understandable, since it is orchestral in nature, with thrilling blends that evoke a much larger ensemble. In the allegro first movement the piano playing was incandescent, the string sound translucent, and all were woven tightly together with insistent pulse and beautiful unison playing. The intermezzo/allegro, ma non troppo/trio/Animato often changes moods and tempi and at times hangs on the edge of dissonance. A sense of urgency prevailed as drama built and climaxed in animated piano arpeggios.

The third movement, andante con moto, was almost painful in its longing. The Fauré’s musicians seemed to live each moment with utmost feeling, their bodies and Ms. Geldsetzer’s face expressing each emotion. The section turned military, with a march and the evocation of drums, out of which the violin seemed to sing of life continuing, its rich voice rising above the other performers. The rondo fourth movement was played as an earthy gypsy celebration, Hungarian in sound, with much rubato and a vehement and joyful ensemble. The strings played unison pizzicatos while the piano part featured a cascade of notes. There was a section of waltz, perhaps bringing to mind Vienna where Brahms was living. The players seemed to be having fun with this exciting masterpiece.

When the last notes died away, the audience again rose as one to give an enthusiastic standing ovation that moved the musicians to sit again to play Mr. Mommertz’s arrangement of Mussorgsky’s “Great Gate of Kiev” from his piano work Pictures at an Exhibition. It was a grand finale encore.