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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
Chamber
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 “
Chamber
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
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
CHAMBER REVIEW

Soprano Ruth Ann Swenson

VOCAL PYROTECHNICS LIGHT UP SCHROEDER HALL

by Terry McNeill
Sunday, August 24, 2014

What could end a wildly successful 10-concert inaugural weekend in SSU’s new Schroeder Hall? A resounding concert of manifold brass, organ and voice that turned out by a wide margin to be the overall audience favorite.

The long Sunday evening event put on display every piece of Schroeder’s vaunted acoustics. Led by organists James David Christie and Julian Wachner, 11 works--from Vivaldi to a new-age organ improvisation and a world premiere--showcased the elegant small hall.

Widely anticipated was Schubert’s “The Shepherd on the Rock,” arguably his last work and long a favorite for sopranos. Roy Zajac’s exalted and melodic clarinet playing and Marilyn Thompson’s suave pianism were upstaged by a dramatic performance of the three sections by diva Ruth Ann Swenson. The middle section is always slow and heartfelt, but this performance was beyond my previous hearings, the tone quality going throughout from full brilliance to a velvety smooth, plaintive sound that was continually beguiling. And then the classic structure burst into warm sunshine in the last contrasted section. Ms. Swenson sang with agility and joy, playing with the articulation when she felt capricious. Her stunning performance drove the packed audience to its feet in a roaring ovation.

Brian Wilson’s premiered work, “Stood the Seraphim,” opened the concert in a four-minute triumphal fanfare for brass ensemble and organ. The composer conducted with command and sweep, emphasizing the march-like aspects of the work. Later he directed three canzons of Gabrieli that were a feast of antiphonal sound, with the brass choirs at opposite ends of the hall. In the "Canzon for Double Echo" (also conducted by Mr. Wilson), the extended reverberation time gave the music a kind of glorious syncopation.

A special treat was Mr. Christie’s performance of Vivaldi’s D Major Concerto, RV 93. The nature of the polyphonic choral dialog between the two manual divisions was registered well, with a tasteful Baroque touch. The Concerto displayed precise sounds of the two reed stops used in combination with the full organ.

Mr. Wachner played his own “Blue and Green” and “Fanfare Improvisation,” which were both perfectly presented with the registrations he chose and with a meandering church-music flair. He had company in the organ loft when Ms. Swenson and flutist Kathleen Lane Reynolds performed the “Domine Deus” from Vivaldi’s Gloria, and a Handel Sonata for Trombone, with Tony Collins playing the difficult solo part. The introductory phrases in the Vivaldi for the flute were especially enchanting, leading to a congenial and somewhat vocal blend with the organ.

Handel's resplendent “Volate Amon” from the opera seria Ariodante (HWV 23) closed the concert, with Ms. Swenson perched next to Mr. Christie’s organ keyboard and providing the final pyrotechnical salute to the venue. The performance was a tour de force of brilliant vocal virtuosity. Ms. Swenson’s potent and florid dramatic soprano voice wove in and out of the organ line with easy sensitivity and palpable gaiety.

It was an irresistible duo, and both artists were recalled several times, affectionately embracing and enjoying ecstatic applause and louds “bravas” and “bravos.”

James Harrod and Mary Beard contributed to the review