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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
Valley of the Moon Music Festival / Sunday, July 30, 2017
Cynthia Freivogal and Monica Huggett, violin; Tanya Tomkins, cello; Eric Zivian, piano. Apprentices TBA

Violinist Cynthia Freivogal

PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT

by Terry McNeill
Sunday, July 30, 2017

In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons.

Clara Schumann’s three bucolic Op. 22 Romances for Violin were beautifully played by Cynthia Freivogal and pianist Jennifer Lee, with the highlight the opening heart-on-sleeve andante. This was a romantic interpretation laced with subtle ritards and a beguiling bantamweight ending. The somber following allegretto was succeeded by the most Robert Schumannesque of the set, with surging romanticism. Ms. Freivogal played from score and clearly has a penchant for the ten-minute work composed in 1842.

Schumann’s third Quartet in A Major, Op. 41, No. 3, closed the first half in a compelling performance by four of the Festival’s apprentices – violinists Maria Romero and Rachell Wong, violist Andrew Gonzalez and cellist Ana Kim. Mr. Kim and Mr. Gonzalez pushed the first movement’s “question and answer” refrains and opening ascending phrase (known to pianists from Beethoven’s E Flat “Hunt” Piano Sonata). This was in sharp contrast to the insistent drama of the assai agitato and the songful and understated playing of the adagio. Here Ms. Romero’s colorful playing began most of the phrases, and the ensemble was always clear. The last chord of the adagio was played without string vibrato.

In the finale the music from 1842 had a sprightly and lively character, played charmingly with just one hiccup at an entrance, and the many thematic repetitions had pleasant differences. The conclusion had energy and flair. The audience in the Hanna Boys Center auditorium gave robust applause.

Arguably the most popular piano trio before the public. Mendelssohn’s D Minor occupied the entire second half and the reading was a mixed bag. Perhaps the lack of a conclusive whole was due to that popularity, as the performances in one’s mind usually have the sound of a modern concert grand and steel stringed cellos and violins.

Pianist Eric Zivian, the preeminent fortepianist in Northern California, dominated much of the performance. Mr. Zivian’s scales (in a scale-heavy work) were fast and tended to take the musical leadership away from cellist Tanya Tomkins and violinist Monica Huggett. Piano action key dip is at about 1/4" (3/8" in modern pianos) in Mr. Zivian’s reconstructed Mendelssohn-era 1841 grand, and he made the most of thematic voice leading and rubatos. His forte chords sounded well, especially when juxtaposed to the gut strings of the cello and violin. The opening movement had many beguiling moments, and at some Ms. Tomkins raised her right foot way off the floor for perhaps quiet emphasis. Her playing throughout was chaste but seldom muscular.

The famous andante in B-Flat major was charmingly played and Ms. Huggett’s solo after the opening theme in the piano part was elegant. But for much of the work she could be seen playing but not heard. Her proficient playing was frequently underpowered, and it’s hard to envision this musician playing standard virtuoso violin works (e.g., Respighi Sonata, Sibelius Concerto) in a large hall. That said, I presume such compositions are of little artistic interest to her, and her musical preferences are solidly rooted in Baroque music. The interplay of voices in the brisk scherzo was lucid, and the ensemble of the racehorse finale was exciting. Here again the piano part, even lacking a modern instrument’s sonority, was felicitous (glossy arpeggios and legato octaves) but often covered Ms. Tomkins cello part.

One should never equate the sound of these period instruments with an acquired taste. This performance with these splendid musicians had many auspicious moments, and proved again that a vintage work like the Mendelssohn D Minor can absorb many valid and compelling conceptions.

This review was written from hearing and seeing the performance video, kindly provided by Festival Public Relations Director John Hill.