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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
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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
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PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM
by Pamela Hicks Gailey
Thursday, July 29, 2021
The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to
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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
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BOGAS' TENURE ENDS IN OUTDOOR GUALALA CHAMBER CONCERT
by Iris Lorenzfife
Sunday, July 25, 2021
The preconcert call that music lovers should gather at Gualala Arts July 25 to attend the final Roy Bogas and Friends Concert was not quite as dire as it sounded. It seems that a year of Covid 19 and an 88th birthday had combined to convince Mr. Bogas that he was working too hard. But with cellist P
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CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
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RARE LANG SONGS SPARKLE AT VOM FESTIVAL VIDEO RECITAL
by Pamela Hicks Gailey
Wednesday, July 21, 2021
Unexpected pleasures are often the best. Valley of the Moon Chamber Festival presented a such a pleasure last week-a July 21 recorded performance by tenor Kyle Stegall and pianist Eric Zivian in another mini-recital (very mini-just 15 minutes!) of six songs by the nineteenth century German composer
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EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
CHORAL AND VOCAL REVIEW
Occidental Center for the Arts / Sunday, January 13, 2013
Santa Rosa Chamber Orchestra, Nicholas Xenelis, conductor. Norma Brown, piano; Jeff Chan, clarinet; Valerie Marshall, cello; Daniel Celidore, oboe; Paul Hadley, horn; Miranda Kincaid, bassoon; Christopher Fritzsche, countertenor

Nick Xenelis, Dan Celidore, Miranda Kinkaid, Paul Hadley and Jeffrey Chan

JAN. 13 OCCIDENTAL AND GUERNEVILLE PROGRAMS OPEN RIVER CONCERT SEASON

by Terry McNeill
Sunday, January 13, 2013

Russian River’s winter concert season began Jan. 13 with two events at nearly the same location and time, both programs packed with abundant vocal qualities.

Sonia Tubridy’s River Choir performed their annual Winterfest concert in the Guerneville Community Church before 30 ardent listeners. The 12-member choir, diminished from their usual number because of illness, began with a series of short works of Susato, Mozart, Andrejs Jansons, Schubert and Bach.

Director Tubridy did extra duty at the piano and even used a small rhythmic drum in Pietro Yon’s "Gesu Bambino." First-half soloists included Kathrin Williams, Lois Pearlman, Jean Ashley and Tom Lowrie.

The balance of the concert was not heard due to a short drive to Occidental for the Santa Rosa Chamber Orchestra’s concert in the town’s cozy Performing Arts Center. A warm beginning was offered in the opening Clarinet Trio of Brahms, Op. 114, with pianist Norma Brown, clarinetist Jeffrey Chan and cellist Valerie Marshall. In each of the four movements, the players highlighted the innate lyricism of the work from Brahms’ last period.

Norma Brown is an old friend to this trio. She played with a subdued approach, probably because of the vacuous sound of the instrument she was given, and the composer’s generally autumnal writing. I suspect it’s also the way she perceives the piece, and her colleagues followed suit. Mr. Chan spun lovely phrases in the beginning Allegro and subsequent Adagio, and Ms. Marshall, overcoming some intonation and upper register difficulties, played with a flowing and full bottom register. At times the clarinet covered the other instruments, but after all it’s a clarinet work. The unison playing in the closing Allegro was bracing, and the ensemble tidy.

Counterenor Christopher Fritzsche joined consummate oboist Daniel Celidore in selections from Vaughn Williams’ "Ten Blake Songs for High Voice," written a year before the composer’s death in 1958. Beginning with "The Lamb," the interplay between the somber oboe line and the airy, occasionally melismatic singing was captivating. Often the two parts were far apart harmonically, the oboe playing seemingly giving no direct assistance to the singer. There are echoes here of the opera "Riders to the Sea." The monochromatic nature of the high vocal part, in Mr. Fritzsche’s deliberately sparse phrasing, had a bit of menace. "A Poison Tree," "Ah! Sunflower," "Eternity" and "The Piper" were the final songs, the last the most jaunty.

Conductor Nicholas Xenelis’ 19-member Santa Rosa Chamber Orchestra somehow found room on the small stage and concluded the concert with Mozart’s Sinfonia Concertante for Oboe, Clarinet, Bassoon, Horn and Orchestra, K. 297b. Throughout the three-movement work, Mr. Xenelis favored leisurely tempos. The opening Allegro, with its numerous repeated expositions, tended to the deliberate. The conductor focused his attention on control of dynamics to exemplary effect, eliciting excellent ensemble in a sporadically scrappy orchestra sound, and his deference to the four soloists was deft. Mozart’s masterful writing for winds was everywhere in evidence, and the conductor was in total command, rarely looking at the score before him.

In addition to Mr. Celidore, the soloists included Mr. Chan, bassoonist Miranda Kinkaid and hornist Paul Hadley. The pungent clarinet and oboe parts in this hall tended to overpower the upper strings (though not Bill Fouty’s sonorous bass playing), and the E Flat tonality in the entire piece brought continuity and delectable long phrases to the thematic material. Under Mr. Xenelis’ paced direction the music was iterative, but it never meandered.

In the 10-variation finale, the virtuosity of the solo quartet shone, especially the discourse of clarinet and oboe, resulting in a standing ovation from the 125 in attendance. Proceeds from the concert benefited the Performing Arts Center.