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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
CHAMBER REVIEW
Numina Center for Spirituality and the Arts / Sunday, June 28, 2009
Chamber Music with the Locals: An Artful Afternoon
Music, art, and a wine reception
Performers: Carol Menke, soprano; Kathleen Reynolds, flute; Roy Zajac, clarinet; Jennifer Sills, viola; Norma Brown, piano

Flutist Kathleen Reynolds

NUMINA CENTER EVENT ENDS CONCERT SEASON

by Terry McNeill
Sunday, June 28, 2009

When does the local concert season actually end? Well, it usually is just before July 1, and it’s usually a hot day. Both benchmarks were satisfied June 28 when Santa Rosa’s Numina Center produced the last concert of the 2009 season, a chamber pot pourri, before 125 appreciative listeners.

Copland’s “As It Fell Upon A Day”, a c. 1923 bagatelle for clarinet, flute and soprano, began the program with insouciant flair. Joined by Santa Rosa Symphony musicians Roy Zajac (clarinet) and Kathleen Reynolds (flute), soprano Carol Menke gave a stylish performance that bantered with the two wind instruments. Written in 1923, just before the composer’s seminal Piano Variations, the piece fell gracefully on the ear and echoed the early English harmonies graced by the words from seventeenth-century poet Richard Barnefield.
Reynolds returned with pianist Norma Brown for one of the afternoon’s highlights, Southern California composer Michael Ruszczinski’s “Poem” (1996) for Flute and Piano. Here all the artistry of Reynold’s richly-colored tone was displayed, from the first note (a lovely decrescendo trailing off to piano) to the ethereal ending of the 10-minute work. It was a ruminating journey with varied degrees of attack, a sterling altissimo register and a chaste vibrato. There was not much for the piano to do in this work, giving only sporadic introductory or complimenting phrases. Ruszczinski’s music (not to be confused with the better-known composer Robert Muszynski) was not known before to me, and should have been.

Concluding the first half was a Mozart Trio in E Flat, K. 498, for the odd combination of piano, clarinet and viola. Violist Jennifer Sills met Brown and Zajac on even terms in the three-movement work, probably from 1786. One didn’t miss in this Trio the usual violin’s vocal line as Zajac sang vividly, albeit with judicious tempos. As with the piano sound throughout the day, clarity was lost in the lower registers due to an inadequate instrument. This is a charming work, the opening Andante showcasing a theme which was copiously varied. The Menuetto, although more forceful, carried forward the texture of the first movement, as did the finale. In the last Sill’s viola assumed a cello line at times, to fine effect, and the modulations at surprising times led to a summery conclusion.

Stravinsky wrote his Three Songs from Shakespeare in 1953, and again it was a novel combination of musicians: mezzo soprano, flute, clarinet and viola. These works stem from the time the Russian master was incorporating tone rows into his music. The viola’s plucked strings provided a spicy background to the nearly expressionist “sprechstimme,” reminiscent of Schonberg and Weill. The second song, “Full fadom five,” was based on the play “The Tempest” and ended sadly, Menke catching just the right measure of nostalgia.

Menke remained on stage and accompanied by Brown sang three songs from a composer she has been associated with for a lifetime, Schubert. Only one song was new to Menke’s public repertoire, the E-Flat Major “Lambertine”, from 1815 with words by Josef Stoll. More familiar fare included “Der Neugierige” (the sixth from the cycle “Die Schöne Mullerin”) and “Liebe Schwärmt auf allen Wegen.” All received Menke’s usual careful attention: crystal clear diction, seamless legato and deft characterization of love lost and happily found. Is there a North Bay soprano that sings as often and as well as Carol Menke?

The concert ended with another arcane chamber work, Florent Schmitt’s Sonatine et Trio, Op. 85, for clarinet, flute and piano. Schmitt’s music always seems ready for wider popularity, as with contemporaries Vierne and Françaix, but few outside of France know anything but a few orchestral pieces. Opus 85 is an upbeat work and received a lively interpretation, the opening moving briskly with Zajac in the forefront. There are bits of Impressionism scattered throughout, especially in the chromatic Assez zif second movement with its bantamweight ending, and all went smoothly. Reynolds and Zejac played a fetching and dreamy duet in the third movement, contrasting the exciting Animé that closes the piece. Here Brown’s undulating piano line deftly supported the clarinet and flute, both trading off short phrases and often playing unisons.

Billed as an “Artful Afternoon,” the concert concluded with a display of provocative African landscape photography by Lisa Gershman and a sumptuous outside buffet. The Numina Center covered all the bases, and will do it again August 23 with the same participants, save for Laura McLellan’s cello replacing the viola. The paintings that Sunday will be by artist Boris Illyin.