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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
Music at Oakmont / Thursday, October 20, 2016
Trio Valtorna. Ida Kavafian, violin; David Jolley, horn; Gilles Vonsattel, piano

Violinist Ida Kavafian

TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT

by Terry McNeill
Thursday, October 20, 2016

New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal.

But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that brought the audience of 150 and violinist Ida Kavafian, hornist David Jolley and pianist Gilles Yonsattel most happily together. The opening Andante was played with special emphasis on the varied return (three times) to the luscious main theme, and the intricate balancing of the five harmonic keys. It was never a strongly dramatic reading but more svelte and lyrical, even in the second climax. The lively Scherzo was fiery and reminded me of the fast sections of the composer’s C Minor Piano Quartet. Controlled velocity.

Brahms’ haunting Adagio was given a slow and moving interpretation, bass heavy at times, and Ms. Kavafian’s exposed accuracy of pitch was perfection. Mr. Jolley came to the fore in the Allegro finale with judicious quick note runs and subtle short crescendos and decrescendos. One the whole the performance favored ensemble and lyricism over sustained drama.

Ending the first half was a performance of Ravel’s G Major Violin Sonata, played by Ms. Kavafian from score with warm pianism from Mr. Vonsattel. But it’s not a “warm” piece, and the composition from 1927 has lots of stylistic contradictions. Here Ms. Kavafian was in no hurry to get anywhere and used in the opening Allegretto moderate vibrato and a chaste, sunny bottom sound. Mr. Vonsattel’s touch was everywhere adroit. The ending played off seconds with a long held note in the violin with the piano softly following. Beguiling and convincing.

The bluesy Moderato was played in a light march of broken rhythms with jaunty violin pizzicatos and various jazzy inflections and offbeat accents. It’s difficult to bring out the careless “swing” of Ravel’s polytonalities but both musicians seemed to have an intuitive connection with the jazz idiom.

Fine duo playing continued into the Perpetuum Mobile finale with Mr. Vonstattel playing powerfully sharp sound “jabs” and the exploration of a little music from the preceding movements. It was athletic playing at a quick pace that highlighted Ravel’s free rein of cascading ideas and juxtaposition of instrumental texture.

John Harbison’s 1985 Twilight Music for Horn, Violin and Piano opened the program following Mr. Jolley’s remarks regarding the piece, and an odd reference to Brahms’ ensemble with the same instruments. Ms. Kavafian’s violin line was often at the top of its register, and the piece abounds in frantic horn and piano phrases and fragmentary, insistent and jumpy rhythms. The playing was always capable but the lasting effect of the music on the Berger audience was in doubt, and the Harrison work past without much notice.

For me the most memorable part of “Twilight” was near the end when the Valtorna slowed the pace in a major key with unison violin and horn lines, creating a clean and mellow sound absent from most of the 18-minute composition.