Home  Reviews  Articles  Calendar  Presenters  Add Event     
EXOTIC RUSSIAN MUSIC FEATURED IN MV PHIL CONCERT
by Abby Wasserman
Thursday, May 19, 2022
Symphony
SANTA ROSA SYMPHONY PREMIERES DAUGHERTY SKETCHES OF SONOMA COUNTY
by Steve Osborn
Sunday, May 8, 2022
Chamber
BRAHMS-ERA TRIOS HIGHLIGHT OAKMONT CHAMBER CONCERT
by Nicholas Xelenis
Thursday, May 5, 2022
Chamber
CHAMBER GEMS OF BRAHMS IN TRIO NAVARRO'S SCHROEDER CONCERT
by Judy Walker
Sunday, May 1, 2022
Recital
UNIQUE ELEGANCE IN GALBRAITH GUITAR RECITAL
by Gary Digman
Friday, April 29, 2022
Symphony
VSO'S ELEGANT PASTORAL SYMPHONY SHINES IN EMPRESS RETURN
by Terry McNeill
Sunday, April 24, 2022
Choral and Vocal
A SPIRITUAL FAURE REQUIEM IN GOOD FRIDAY CANTIAMO CONCERT
by Pamela Hicks Gailey
Friday, April 15, 2022
Symphony
LUSH ORCHESTRA PLAYING IN SO CO PHIL-LLOYD MEMORIAL CONCERT
by Terry McNeill
Sunday, April 3, 2022
Chamber
DISPARATE TRIOS IN HOLLYWOOD PIANO TRIO'S 222 CONCERT
by Terry McNeill
Saturday, April 2, 2022
Chamber
TANGO IMMERSION IN MILL VALLEY CONCERT
by Abby Wasserman
Sunday, March 27, 2022
CHORAL AND VOCAL REVIEW

TWICE IS THE CHARM AT RIVER CHOIR'S BACH CANTATA PERFORMANCE

by Terry McNeill
Tuesday, April 26, 2011

It’s pretty rare that an entire classical music program contains just one work, and just 22 minutes at that. Sonia Tubridy’s River Choir thought so much of Bach’s Cantata No. 4, Christ lag in Todesbanden, that they sang it twice in a program April 19, and repeated the Cantata April 26. And they performed it twice each time, and I’ll return to that later.

In the Guerneville Community Church before 35 listeners on the 26th the 13-person choir was joined by violinists Peter Wehausen and John Konigsmark, violist David Hill, cellist Valerie Marshall and Ms. Tubridy directing from the piano and supplying ardent continuo.

An early Leipzig-era Cantata from 1724, the Easter day work originally was played with three trombones and trumpet as well as strings and continuo, and adding brass instruments would have stretched the sonic limits of the small church space. As it was the strings often overpowered the soloists, though Gael Reed’s rich soprano carried well. Joining Ms. Reed in solo parts were Jean Ashley, alto, Tom Lowrie, tenor, and bass Dan Fein.

What about the two performances at each concert? Tactfully excluded from the first performance, the audience was invited to stand with the choir and soloists for the repetition, raising Bach’s “Soli Gloria Deo” with hearty voices. Several did, making this wonderful music under Ms. Tubridy’s sure hand all the more resonant.