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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
PianoSonoma - Vino and Vibrato Series / Tuesday, July 26, 2016
Julia Glenn, violin; Mika Sasaki, Michael Shinn, Jessica Chow Shinn, Peter Dugan, piano; Emi Ferguson, flute; Kara Sainz, mezzo-soprano

Violinist Julia Glenn

PIANOSONOMA SERIES OPENS WITH ECHT GERMAN ROMANTICISM

by Terry McNeill
Tuesday, July 26, 2016

PianoSonoma’s second season in SSU’s Schroeder Hall began July 26 with a mixed program under the series appellation “Vino & Vibrato.” The set of student workshops and concerts, headed by Juilliard School pianists Jessica and Michael Shinn, puts artists in residence in close contact with Sonoma County adult musicians for two weeks each summer.

Titled a “Love Triangle” (Clara and Robert Schumann with Brahms), Clara Schumann’s Three Romances for Violin and Piano, Op. 22, had a shaky opening. Violinist Julia Glenn’s intonation wavered and the thematic projection in the soaring melancholy of the Andante was tentative. Clear note taking in the Allegretto was seldom clear, but her best playing came in the final Agitato’s light lyricism, and Ms. Glenn leaned gracefully into some notes with palpable effect.

An 11-minute interlude work from Brahms, his piano transcription for four hands from Robert Schumann’s E-Flat Major Quartet, Op. 47, (Andante only) was played by the Shinns. Ms. Shin was segundo and the arching phrases, lovely counterpoint and poignant sadness of the super-romantic music was vivid and chaste. Mr. Shinn noted to the audience that the work was Brahms’ best love song for Clara, but that gift could also be the Andante from the Op. 60 C Minor Piano Quartet.

Pianist Mika Sasaki played well with forceful rolling chords in the final Romance, and continued admirable pianism with two sets of variations on a Robert Schumann theme from his Op. 99 Bunte Blätter. First came Clara’s Op. 20, and Ms. Sasaki’s tempos were never rushed and she played with a subtle touch, though over pedaling at times made the left-hand line muddy. The slower variations and the concluding arpeggios were lovely.

Brahms’ Op 9 Variations on the same theme is far removed from the composer’s virtuosic Handel Variations, and Ms. Sasaki played 12 of the written 16. Few other composers (Bizet, Rubinstein) at this time were writing formal variations for piano, and the pianist made a good case for the 1854 work with ruminating themes, a boisterous repeated-note variation and a catchy dance variation. The music had a far off feel with the pianist playing strong bass chords before in the last variation slowing down the tempo to elegant effect.

Following intermission mezzo-soprano Kara Sainz joined pianist Peter Dugan in three sets of songs: three from Brahms and two each by Clara and Robert. Clara’s Liebst du um Schonheit and Liebeszauber were performed well but the better known Brahms and Robert Schumann works overshadowed them. The big “Wie Melodien” (Op. 105, No. 1) was verbally introduced by Mr. Duggan, and his clean distinctive piano sound melded well with Ms. Sainz’s supple voice and excellent German diction.

Ms. Sainz’ slow steady voice sounded comely in the well-known “Die Mainacht” (Op. 43, No. 2), but lacked the last bit of warmth in the biggest climaxes of “Meine Leibe ist grun” (My love is Green), Op. 65, No. 5.

The concert’s last offering, the Robert Schumann songs, was a fitting end. Ms. Sainz flattened (presumably by artistic design) some notes in phrases in “Er, der Herrlichste von allen,” from the cycle Frauenliebe und Leben, a seminal work for mezzo. Here Mr. Dugan’s playing at places covered the singer, but was in perfect balance for the operatic “Widmung” from the cycle Myrthen, Op. 25. Some of the raw vocal power and color needed in this song was absent, but perhaps Liszt’s two piano transcriptions of “Widmung” are too much in mind, and defer the beauty of this celebrated song from a salutary mezzo.

Most of the 80 people in the hall rose in a short ovation.