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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
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise Ė a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonicís season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Musicís Centerí 2021-2022 season exploded in a ďParty for the GreenĒ Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
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 Franciscoís 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 Festivalís 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 Griffesí 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
Chamber
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 Bachís Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasnít the highl
CHAMBER REVIEW
Valley of the Moon Music Festival: MENDELSSOHN PIANO TRIO / Sunday, August 2, 2015
Monica Huggett, violin

Cynthia Freivogel, violin

Tanya Tomkins, cello

Eric Zivian, fortepiano

Pianist Eric Zivian and Cellist Tanya Tomkins

FROTHY CHAMBER WORKS CONCLUDE VALLEY OF THE MOON FESTIVAL AT HANNA CENTER

by Terry McNeill
Sunday, August 2, 2015

A closing concert for a summer music festival, even a new series such as the Valley of the Moon Music Festival (VMMF), should be a capstone for the series. The recent Chamberfest Concerts at the Green Music Center, with all six Bach Brandenburgs as the finale, are an example.

Artists at the Festival finished the seven-event set August 2 with three mostly light-hearted works that underscored the period instrumental Festival sound. An oddity began the concert, Mozartís B-Flat Major Piano Sonata (K. 570), with a violin obbligato part from an unknown composer. Spohr? Brdgetower? VMMF co-director Eric Zivian was at the replica 1795 piano and Cynthia Miller Freivogel played the violinís reinforcing line without providing any counterpoint.

Ms. Freivogel played constant interjections into the lovely fabric of Mozartís opening Allegro and Adagio with ritards only at the end of phrases and more projection in the concluding Allegretto. Though the new Hanna Boys Center hall is not large, the timid pre-1800 piano sound could be improved by moving the instrument in the future (it can be carried by four people) far closer to the audience.

Chopinís Introduction et Polonaise Brillante, Op. 3, was a surprise addition to the program, and received a performance of infectious rhythmic lift that played off a judicious tempo. Much more rubato and instrumental leaning into the delicious Polish dance cadences than the Mozart came from cellist Tanya Tomkins and Mr. Zivian. The subtle slides in the cello were a perfect fit for this frothy piece, and the audience of 150 responded with a standing ovation.

The Festivalís 1841-era piano was used for the Chopin as well as the Mendelssohn C-Minor Trio, Op. 66, that comprised the second half of the program.

The C Minor Trio is not as popular as the composerís famous D Minor Trio, and though it lacks none of Mendelssohnís signature ebullience and smooth panache, but with gut strings in the violin and cello and a fortepiano the music had small dimensions. But thatís okay and some clangor from the piano is effective. Violinist Monica Huggett joined Ms. Tomkins and Mr. Zivian in the opening Allegro energico that had drama but also for Ms. Huggett intonation problems. The dreamy Andante featured subtle string portamento and pensive interludes, and Ms. Tomkins played delicate crescendos and diminuendos and a fetching ending similar to many of the endings of Mendelssohnís Songs Without Words for solo piano.

The Scherzo was appropriately fleet and resembled the finale of the D Minor Trio in virtuosity. The finale of the C Minor had authority even when the bass register of the piano rattled, and tuning in the gut strings wavered. It was a vigorous finale, moving effortlesly in the coda to C Major and a compelling conclusion that elicited loud applause. There was a substantial sprinkling of young musicians in the audience and Mendelssohnís charming music proved seductive.

Contributing to the Festivalís success was professional management with attractive printed materials, a five-student apprentice program, computerized ticketing and an attentive staff. An encore Festival in 2016?