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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

Nicki Bell and Leslie Gardner After Playing Ravel's "La Valse"

SIX PEDALS AND 176 KEYS

by Terry McNeill
Tuesday, February 24, 2009

Concerts featuring two pianos have been on the upswing in Sonoma County, due mainly to the work of the Twenty Fingers Club, a group of well-trained amateurs devoted to conventional and arcane repertoire for 176 keys and six pedals. Club members don’t perform as often as they would like, as two-piano venues are rare.

The Sebastopol Center for the Arts solved the venue problem with a February Two-Piano Festival, bringing in a second instrument for five concerts and a gaggle of performers – 24 in all. Due to schedule conflicts, I was only able to attend the final event, an afternoon recital Feb. 24 by resident Sebastopol pianists Nicki Bell and Leslie Gardner. Twenty-five rapt listeners found the eclectic program of Piazzola, Brubeck and Ravel a change from the usual Mozart and Rachmaninoff two-piano works.

Astor Piazzola’s tangos are popular these days, and one hears the Libertango and Infinity everywhere as encores. The Bell-Gardner duo chose six less performed tangos, composed from 1968 to 1988. Beginning with the mysterious Michelangelo 70, the set unfolded with snippets of dreamy and languid themes, some works akin to bad film music and peppered with raucous repeated dissonances. I found the contrapuntal lines and sharp contrasts of the Fuga y misterio the most convincing, along with the lyrical and somber fifth work, Soledad. Some of this music is sectional and plodding, with the pianists making every effort to keep together with too many score pages to turn quickly. Nonetheless, instrumental balance was excellent.

Dave Brubeck’s “Points on Jazz” ballet suite followed. Rather than a transcription, this piece was originally written for two pianos, and its six movements form distinct character pieces in Brubeck’s inimitable style. The syncopated modes quickly became the benchmark of the work. The opening Prelude was light-hearted, the following Scherzo up-tempo and bluesy. Bell’s ardent pianism was apparent in the torch-song slow Blues, ending with a brassy piano line from Gardner and 11 (were there that many?) insistent mezzo forte chords. The pianists were equally effective in a clamorous fugue with husky chords unfolding over an ostinato bass. A Tin-Pan Alley Rag with deliciously interwoven pop tunes led to a final Chorale. Here the performers were sometimes not together, even though the tempos was slow. The contrary motion ending, played beautifully, lifted the theme quietly into the ethos and resounding applause from the crowd.

Ravel’s masterful La Valse concluded the concert, and it seemed a work in progress for the performers. It’s a virtuoso handful with swirling waltz rhythms and insinuating rhythmic patterns leading to a powerful close, depicting the demise of the classic Viennese waltz era. The playing was muddy, the phrases tentative rather than ringing, the orchestral ending lacking impact. All through the recital the lack of vocal line clarity, due in part to the less-than-professional instruments and the room acoustics, hindered the music’s transparency.

The Bell-Gardner duo played with ardor and focus, a fitting end to a festival of unfamiliar music and congenial performers.