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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 – 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 Philharmonic’s 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 Music’s Center’ 2021-2022 season exploded in a “Party for the Green” 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 Francisco’s 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 Festival’s 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 Griffes’ 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 Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
CHAMBER REVIEW

Pianist Erick Zivian and Tenor Kyle Stegall (John Hefti Photo)

FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT

by Terry McNeill
Saturday, May 12, 2018

It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s resident Navarro Trio gave a compelling reading of the work from 1827.

Surprisingly, the differences were greater than the similarities. The estimable Navarro uses a modern concert grand and the violin and cello are fitted with steel strings. The VOM trio uses a piano from Mendelssohn’s era, and the bowed instruments have gut or synthetic strings. Many feel these types of strings have a dark and richer sound than steel-core strings, but there is seldom a consensus from listeners. Also there are seasoned music lovers that are not enamored of the period piano sound.

Violinist Joseph Maile took the place of the frequently performing VOM violinist Monica Huggett, and with pianist Erick Zivian and cellist Tanya Tomkins the Op. 99 work unfolded with Schubertian exuberance and brisk tempos. From the usual critic’s seat way back in Schroeder the cello and piano lacked projection and distinct instrumental lines, and no treble partials could be heard from the piano. So different from the Hall’s modern pianos. I’ll sit closer next time music is played with a small ensemble of period instruments, and presumably hear more.

A highlight of the performance came in the andante un pocco mossowhere the majestic theme first stated by Ms. Tomkins was heartfelt and spiritual, and her duos with Mr. Maile were splendid, with delicacy foremost. The scherzo received a reading more intimate than experienced in most Schubert scherzos, and the finale rondo allegro underscored fetching folk-song melodies.

Tenor Kyle Stegall and Mr. Zivian performed an extended group of Schubert songs, with a short Schumann piece, that constituted the entire first half. Mr. Stegall has sung at the VOM summer festivals and has a penetrating, elastic and clear tenor but at this recital lacked the round warm sound of iconic German lieder tenors. The opening Geheimes (D. 719) was perfection, with deft swelling on individual notes, and morphed into the furious tempo of Versunken, D. 715. The singer had the score but infrequently glanced at it, preferring to animate each song with varied facial expression and change in tone color. The postlude to a low piano note in Versunken was lovely.

These songs were written on Goethe’s poetry, and are less familiar than the popular Die Winterreise and Die Schöne Müllerin cycles. But sonic and dramatic contrasts were everywhere present in this masterful recital, from the slow and hesitant Erster Verlust (D. 226) and the stentorian Freudvall und Liedvoll, D. 201, to the chaste Nahe des Geliebten (D. 162) with different but mesmerizing repeats and phrases sung at half voice.

In the next section the performance of An Schwager Kronos (D. 369, and a Fischer-Dieskau specialty) was echt Schubert singing, and Liebhaber in allen Gestalten (D. 588) had more sonority than any song before, with refined rubato playing from Mr. Zivian.

Of course the performance of the famous Erlkönig (D. 328) generated excitement for the audience of 100, as the drama mounted in each of the eight stanzas and Mr. Zivian’s fast repeated chords hammered out perfect support for the tragic story of the fleeing child dying in his father’s arms. Mr. Stegall looked furtively around the stage during the increasing vocal histrionics, giving vocal emphasis (shrill at moments) to the story’s interplay of speeding horse, two riders and approaching lethal menace.

No encore was offered.