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Recital
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Recital
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Symphony
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CHAMBER REVIEW

Pianist Christian De Luca

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 Fanny’s songs as his own. In a period of just fifteen years Fanny composed 460 pieces of music while also hosting weekly Sunday concerts presenting new works by Felix, herself and others. Sister and brother both died in 1847.

This concert was dedicated by cellist and Festival co-founder Tanya Tomkins to the late Anner Bylsma, cellist teacher and teacher whose inspiration continues to reach new generations of musicians. The opening piece, a Fantasy in G Minor, was played cellist played by Ana Kim and pianist Eric Zivian. It began with contemplative and yearning phrases passed between the players, often with expressive fortepiano melodies over long cello notes. Then an impetuous contrasting section lead through a melodic dialogue to a joyful ending, coming to rest with sweet pizzicatos. This was a satisfying opening piece of concise and understated romanticism, played with sensitivity and color.

Four Lieder selected from Ops. 1, 7, and 10 provided soprano Danielle Sampson with opportunity to shine in her expressive and dramatic singing. Accompanied to perfection by Mr. Zivian, Ms. Sampson interpreted both text and melody with clear articulation and masterful use of vocal dynamics. Heine’s “Warum sind den die Rosen” was poignant with a lover’s entreaties, and Eichendorff’s “Nachtwanderer” expressed night sounds and emotions with effective “soft shuddering” in the accompaniment. The third song, “In the Autumn”, was gently lyrical with dramatic outbursts, and in the last song, “Italien”, the composer wrote music that bursts into joyous dance with the duo bringing out the flirtatious happiness and exuberance.

Felix Mendelssohn’s D Major Cello Sonata (Op. 58) was performed by Ms. Tomkins and pianist Christian De Luca, the latter giving a brief talk on the fortepiano being used. It was built in 1841, with Viennese action enabling a light transparent touch suitable for the cascades of fast passages in Mendelssohn’s music. The four movements had exciting aural stories to impart. The first allegro assai vivace was brisk, impassioned, pushing ever forward until the triumphant ending. Ms. Tomkins played as if possessed and Mr. De Luca was a powerhouse of energy, yet never covering the cello. The allegretto scherzando was played by the pianist with humor and charm, cello pizzicato complementing, balance and blend always lovely. In the adagio movement the piano part starts with broken harp-like chorale chords, creating a spiritual atmosphere which the cello interrupts with a recitative chromaticism contributing to a highly expressive and tragic lament. This is very great writing for cello-piano duo.

The finale of this sonata begins with shocking chords, then terrified scrambling into wild ecstatic passages, dazzling passagework, a moment’s quiet, and the final dash to the exhilarating conclusion. There was an immediate standing ovation for this excellent performance.

After intermission Ms. Kim and Mr. De Luca initiated the second half with Fanny’s Capriccio in A-flat major, from 1829. This is a lovely piece, immediately pleasant for the listener, continuously melodic with occasional drama. The musicians playing shined as Ms. Kim produced warm and rich cello sound, and Mr. De Luca played with a lightness of touch and sonic clarity. Danielle Sampson and Mr. Zivian returned a engaging set of songs: “Longing”, “Reproach”, “Twilight” and “Mountain Happiness” ( the poet was Goethe). These songs gave Ms. Sampson full opportunity to create and shape phrases in collaboration with Mr. Zivian. There was clarity and control of dynamics in all ranges, from mournful lines to joyous and energetic feeling.

The final treasure of the afternoon was Fanny’s String Quartet in E-flat Major, performed by four artists from the VOM apprentice program, a teaching school which is a central part of this Festival. Violinists Keats Dieffenbach and Jason Issokson, violist Joshua Gomberoff and Geirbruder Gudmundsdottir (cello) were outstanding performers of this work. As is ideal in a quartet, they could have individual voices and always managed to create a communal voice as well. Mr. Issokson introduced the piece and entertained the audience with his humor. Starting with a plaintive and mysterious adagio key centers were elusive and intriguing. The playing in the allegretto was puckish and transparent, reminiscent of another family member’s scherzos. It featured a light and whirlwind fast fugal section initiated by the viola and picked up breathtakingly by the cello and others. The romanze was played full of emotional and sang of upheavals, leading to peaceful compassion. The last movement (allegro molto vivace was a sparkling rapid romp, full of delights of polyphony, bubbling excitement and soaring melodies.

The concert in Sonoma's Hanna Center was followed by a wine and food reception on the Hall’s patio, audience and musicians mingling and sharing thoughts and comments on the performances.

Nicki Bell contributed to this review