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Symphony
THE SHOW MUST GO ON
by Steve Osborn
Sunday, January 9, 2022
The Jan. 9 Santa Rosa Symphony concert was supposed to feature the world premiere of Gabriella Smith’s first symphony, but it ended up featuring another type of premiere: a concert that was conceived, rehearsed and performed in less than eight hours. Symphony staff learned on Sunday morning that so
Choral and Vocal
AN OLD FRIEND RETURNS TO WEILL IN STERLING ABS MESSIAH PERFORMANCE
by Pamela Hicks Gailey
Sunday, December 19, 2021
A tremendous accomplishment by the American Bach Soloists Dec. 19 was near perfect performance of Handel's Messiah in Weill Hall. Long an annual tradition at San Francisco's Grace Cathedral, the ABS took to the road and delivered a Christmas gift of epic proportions to an obviously thrilled and enth
Symphony
SHOSTAKOVICH FIFTH THUNDERS AT WEILL HALL CONCERT
by Terry McNeill
Sunday, December 5, 2021
In a new season marketed as “Classical Reunion,” the Santa Rosa Symphony made a palpable connection with its audience at the early December set of three standing ovation concerts in Weill Hall. The December 5 concert, with 1,000 attending, is reviewed here. Vaughan Williams’ popular Fantasia on a T
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
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
CHAMBER REVIEW
Numina Center for Spirituality and the Arts / Sunday, August 23, 2009
Carol Menke, soprano; Kathleen Reynolds, flute; Roy Zajac, clarinet; Laura McLellan, cello; Norma Brown, piano

AN ARTFUL AFTERNOON

by Steve Osborn
Sunday, August 23, 2009

The Numina concert in Santa Rosa’s Church of the Incarnation Aug. 23 was billed as “An Artful Afternoon,” and it was certainly full of art. Canvases by the venerable Boris Ilyn filled the north wall of Farlander Hall, and musical art of many eras—Baroque, Classical, Romantic, Modern—emanated from a performance space along the windowed east, with its view of the church’s cloister. The only distraction was the relentless hum of a refrigerator from the kitchen, tempered somewhat by the post-concert hors d’oeuvres therein contained.

Farlander is the church’s dining hall, designed for eating rather than music, but its linoleum floor and high ceiling, to say nothing of its restful view, offer a pleasant listening experience, oddly enhanced by large papier mâché figures of St. Francis, Martin Luther King and Mother Theresa gazing benevolently down from on high.

The subtitle of the concert was “Chamber Music with the Locals,” in this case Carol Menke, soprano, Kathleen Reynolds, flute, Roy Zajac, clarinet, Laura McLellan, cello, and the esteemed pianist Norma Brown. All five are well known to Sonoma County audiences, either as members of the Santa Rosa Symphony or as frequent soloists.

Soprano, flute, cello and piano started the afternoon with a svelte performance of two German arias by Handel. The lyrics of the first, “Süsse Stille,” were particularly appropriate to the late summer afternoon and the friendly, room-filling crowd: “Sweet stillness, gentle source / Of peaceful composure.” Menke sang the gorgeous melody mezzo voce, her voice free of any stress or strain. As always, her pronunciation was impeccable, and her intonation spot on.

Reynolds’ flute obbligato in the second aria, “Meine Seele hört im sehen,” was equally assured, and the interplay between soprano and flute was a joy to hear. Both arias evoked simplicity and happiness, coupled with masterful compositional skill.

The composer Philip Parker, still very much alive, exhibits many of the same talents as the great German master. His “Games” for flute and clarinet likewise offers simplicity and happiness, albeit at a faster pace. Each of the children’s games depicted in this four-movement piece—Leap Frog, Follow the Leader, Hop and Tag—finds its musical counterpart in the ingenious interplay between the instruments. In “Leap Frog,” for example, the one leaps over the other, and in “Follow the Leader,” the two take turns leading and following. Reynolds and Zajac performed this inventive duet to the hilt, conjuring up images of children racing across a playground.

The first half concluded with three songs for soprano and clarinet by one of Beethoven’s lesser known contemporaries, Ludwig Spohr. The first two—“Sei still, mein Herz” (Be still, my heart) and “Das heimliche Lied” (The secret song)—were typically tragic Romantic works, with the clarinet lending a plangent tone to the proceedings; but the last, “Zwiegesang” (Two songs in one), was a delight. Menke (playing the part of a girl) and Zajac (a bird) enacted their roles beautifully, each one complementing the other’s lines to Brown’s steady accompaniment.

More oddities were in store for the second half, which began with Ravel’s rarely performed “Chansons madécasses” for soprano, flute, cello and piano. These three “Songs of Madagascar,” written in 1925, are remarkable for their use of exotic musical themes and their expression of colonial guilt. Lyrics such as “Do not trust the whites!” are well removed from Romantic lieder.

The first song, “Nahandove,” began with a beautiful cello solo, expertly played by McLellan on her resonant instrument. The ensuing love story was well suited to Menke’s range, and Reynolds’ piccolo added a humorous touch. The next, “Aoua,” the warning about whites, was impressively threatening. The last, “Il est doux,” about lying under a leafy tree in the hot afternoon, was likewise slow, voluptuous and languid.

Breaking free from torpor, the concert concluded with a lively performance of a Haydn trio for flute, cello and piano, deftly played by all. Brown, who has charmed Sonoma County audiences for more than 50 years, shows no signs of slowing down. She hit all the notes with clear dynamics and phrasing, leading the charge through the sprightly Allegro opening movement, to the lilting Andantino second, and finally the finger-twisting Vivace assai. The performance was wonderful, a fitting end to an artful afternoon.