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Recital
DYNAMIC PIANISM IN YAKUSHEV MARIN RECITAL
by Terry McNeill
Sunday, January 23, 2022
Russian pianist Ilya Yakushev arrived Jan. 23 at his Mill Valley Chamber Music Society recital with the repute of playing loud and fast and delivering charming introductory musical remarks to his audience. He was true to form in Mill Valley’s Mt. Tamalpais Methodist Church, preceding Haydn’s sple
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,
CHORAL AND VOCAL REVIEW

Flutist Sandra Miller

PERFECT BACH IN BELVEDERE

by Terry McNeill
Friday, January 24, 2014

Perfection in classical concert performance is a tough job, especially on a consistent basis. The redoubtable American Bach Soloists (ABS), however, manage to reach musical perfection often, and they did it again Jan. 24 in a sterling event in Belvedere's St. Stephen's Church.

Beginning their 25th season, and before a full house of 285, music director Jeffrey Thomas fashioned a long Bach program: two Cantatas, the B Minor Orchestral Suite and the wonderful Magnificat, BWV 1733. Before Cantata 214 Tönet. Ihr Pauken! Erschallet, Trompeten! Mr. Thomas addressed the audience, praising their many decades of support and introducing four orchestra and three audience members who had been with the ABS since its 1989 inception in the same church. Five hundred musicians and singers had been ABS performers during the period.

The first cantata was joyous, the baroque trumpets (stationed stage left outside the violins) announcing the theme in the famously dry but mostly clear St. Stephen's acoustics. All through the Cantata the continuo line by harpsichordist Cory Jamason, cellist William Skeen and violone-grossist Steven Lehning were easily heard. In the lighter textured third section, soprano Clara Rottsolk sang a lovely florid line with flutist Sandra Miller.

Countertenor Eric Jurenas sang the difficult fifth section aria in a duet with oboist John Abberger, and later sections featured baritone William Sharp. Mr. Jurenas' flashy long runs with equally long breaths were exciting, and Mr. Sharp's voice often became an animated herald with bits of histrionics and then slow dignity.

The First Orchestral Suite (BWV 1067), which closed the first half, is not quite a concerto for flute, but after experiencing Sandra Miller's artistry, the term "virtuoso flute concerto" is apt. Baroque flutes are less shrill and loud than a transverse flute, and Ms. Miller played with a silken tone throughout the seven short movements. The violins, using minimal or zero vibrato, often take tones from slightly above pitch, adding to the pungent harmonic mix. In the stately Polonaise Lentement march movement, Ms. Miller's control of long lines, mordents and octave skips was masterful, especially so in duets with Mr. Skeen and Mr. Jamason. The finale found the flute mostly in the high register; the expressive music had quick down and up four-note phrases that could be likened to a horse trot. Mr. Thomas as usual had these forces in balance and under expert control.

Cantata No. 130, Herr Gott, dich loben alle wir, began majestically with Mr. Thomas underscoring the off-beat accents and moving it at a fast clip. Excellent playing and singing continued into the third section (Mr. Sharp's snazzy long phrases but muddy trumpet playing in ascending scales), Mr. Cutting's suave singing and a lovely slow dance in the fifth part. Here the conductor held his arms at his side and presumably reveled in the quartet sound of flute, cello, organ and violone grosso pizzicato. It was captivating and a highlight of the evening. The penultimate chorus included an audience sing-along with the familiar "For this we give the willing praise" (Praise God for whom).

The 30-minute Magnificat closed the concert. Here the 22-voice chorus was superb, blending with the instruments and supplying a beautiful soprano-mezzo soprano duet lament with a mournful oboe solo in the third section. Mr. Thomas commanded many subtle crescendos. Of note throughout the work were Mr. Sharp's fioratura and perfect scales, an aching musical cry in a tenor and countertenor duet, and a surprising fugue for just the chorus and organ just before the finale.

This was musical perfection for Bach, augmented by the many small but important things the ABS does so well: personal names printed on tickets, a lavish printed program crammed with information and a refreshing lack of puffery, and the now legendary gratis intermission buffet in the architecturally stylish parish hall. It was a Bach concert that was in every way impeccable.

Early music performer and critic Joanna Bramel Young attended the ABS concert and her comments are posted in the Article section of Classical Sonoma