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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
CHAMBER REVIEW
Absolute Music / Sunday, March 08, 2009
Norma Brown, Piano
Joe Edelberg, Violin
Carol Menke, Soprano
Kati Kyme, Viola
Thalia Moore, Cello
Ken Miller, Bass

Soprano Carol Menke

SUNSHINE IN MUSIC

by Terry McNeill
Sunday, March 08, 2009

After a week of rain, a “mostly Schubert” concert on March 8 in Santa Rosa’s Friedman Center was a welcome blue-sky tonic. As the Russian virtuoso Anton Rubinstein once said, “Ah, Schubert, sunshine in music.”

Produced by Absolute Music, the concert honored founders Alfred and Susanne Batzdorff on their 65th wedding anniversary, and the 150 attending came to applaud the ever-young couple and sample some of the Viennese composer’s best works for small ensemble.

The short Sonatina in D for Piano and Violin, D. 384, began the program with the proper Schubertian lilt. Violinist Joseph Edelberg combined with the rhythmic certainty of pianist Norma Brown to shape the lovely themes. Though the piece was shaky in the first movement, all was secure in the fetching Andante. Edelberg never tries to project the big line, content to let his chaste sound make subtle musical points. The piece turns dramatic in the concluding Allegro vivace, and the musicians made the many tempo variations effective and colorful.

Soprano Carol Menke joined Brown in three Schubert songs, along with four from Vaughn Williams (with Edelberg), to conclude the first half. Menke is the sine qua non of Sonoma County singers, always dependably delivering the musical goods with faultless diction, piquant phrasing and tonal opulence. In Schubert’s “Der Neugierige,” she exhibited faultless control of pianissimos, and in his “Die Gebusche,” she followed the many modulations with yearning, floating high-register notes.

The Vaughn Williams songs, to poems by A.E. Housman, were mostly short and beguiling. “We’ll to the Woods No More” felt like the famous “Lark Ascending” for violin and orchestra, and Edelberg proved a deft, dead-on pitch partner. The darker “In the Morning, in the Morning” and the lively “Good-Bye” were objects lessons in restrained and masterful singing.

Following an intermission where all kinds of food and drink (for purchase) were consumed, Menke returned for a final song, Schubert’s “Die Forelle,” whose melody is used in the fourth movement of the “Trout” Quintet, Op. 114, which closed the concert. Each stanza of the song had a different texture, the final two lines settling in a convincing way the plight of the angler contesting the wary fish.

In the opening Allegro of the quintet, bassist Ken Miller used the high stage’s resonance to project a larger-than-usual low sound. The approach adjusted quickly as pianist Brown brought the balances into order, allowing the treble to sound warm and letting the playful nature of the music shine through. Schubert never wrote a happier work. The Andante and Scherzo were well played, not note perfect, but stylistically assured. Swooping ritards were not part of the performance, and the phrasing eschewed large variations. Violinist Edelberg led the pastoral but at times wild finale, trading voice leading with violist Kati Kyme. The big false cadence in this Allegro Giusto leads back to what some may find a banal theme, but what wonders Schubert weaves into it! The players seemed to give it a Hungarian twist, with the piano runs sparkling and pushing to a forceful conclusion.

No encores were offered, but the audience was more than sated with such melodic richness and proficient virtuosity from singer and players alike.