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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
STYLISH HAYDN QUARTETS CLOSE GREEN ROOM SERIES
by Terry McNeill
Sunday, May 9, 2021
Completing the Green Music Center’s spring series series of “Green Room” virtual concerts, the St. Lawrence String Quartet played May 9 a lightweight program of two Haydn works. Lightweight perhaps, but in every way satisfying. The G Major Quartet (Op. 76, No.1) began the music that was supplement
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, April 25, 2021
Francesco Lecce-Chong, conductor. Joseph Edelberg, violin

Violinist Joseph Edelberg

SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM

by Terry McNeill
Sunday, April 25, 2021

In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing.

Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary works capped by a larger-scale familiar piece that seemed to sweep away the sonic memory of what came before. Presumably many program selections are dictated by the number of available musicians, the needs of the video recording, and COVID restrictions. Filming in Weill Hall was April 10.

Caroline Shaw’s Entr’acte for String Orchestra opened, a 2011 composition that Mr. Lecce-Chong took at a brisk clip over 12 minutes. Adelle-Kiko Kearns’ sorrowful cello line frequently echoed the pizzicato strings and the effective just-off-pitch demands of the score. Violinist Jay Zhong’s high register slides and string squeaks sounded unique, as did Ms. Kearns’ coda, where she played short phrases of swells and pauses, followed by softly strumming her instrument with guitar-like notes fading to an eerie silence.

Appearing for his ninth Symphony formal concert solo, concertmaster Joseph Edelberg played Ellen Taafe Zwilich’s Romance for Violin and Piano, also written in 2011. The initial music featured bassoonist Carla Wilson but quickly moved to Mr. Edelberg’s elegant interpretation, played from score, and equally quickly moving ahead to faster virtuoso playing that reminded one of Prokofiev’s Second Violin Concerto.

There was piquant flute playing from Kathleen Reynolds, and Mr. Edelberg made the most of the music’s periods of repose, his vibrato widening to a subdued ending.

Prior to intermission, instrumental solos were on display in Arturo Márquez’s Danzón No. 4 for Chamber Orchestra (1996), one of nine the Mexican composer has written. Here again Ms. Wilson’s bassoon started things off, paired with wood blocks from the percussion section. Then came thematic handoffs to oboe (Laura Reynolds), flute, horn (Meredith Brown), soprano sax and regular clarinet (Mark Wardlaw and Roy Zajac), muted trumpet (Scott Macomber), trombone (Kurt Patzner) and finally the not quite tango playing of pianist Kymry Esainko. The conductor meticulously shepherded the infectious rhythms and solo entries over 11 minutes that seemed short and were a concert highlight.

Tchaikovsky’s splendid C Major Serenade (Op. 48) concluded the concert, the attacks and releases mostly accurate and the 32 musicians seemingly enjoying the production of waves of rich late 19th Century sound. Low-end string sonority is critical to this Serenade, as is patrician phrasing and precise articulation. Mr. Lecce-Chong generally avoids extremes of tempo and especially rubato. This avoidance was most apparent in the super-romantic Élégie movement, where additional phrase ritards would have been welcome. More schmaltz? Hardly, but similar to the great horn solo in the composer’s E Minor Symphony, the big violin theme in the Élégie asks for subtle expansion of the lush melodic line, and here the conductor chose moderation.

That said, the six cellos and four basses supported glorious string playing in the charming Waltz movement, with some instruments muted. Mr. Lecce-Chong was in no hurry to get anywhere in the final Andante-Allegro. He deftly controlled instrumental sections and the musical excitement mounted, finishing with a triumphal string octave jump and a resounding short coda and long fermata.

Video production at this virtual concert was first cabin with ample close-ups of the musicians and excellent sound.