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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
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 t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 11, 2015
Allan Pollack, conductor. Livia Sohn, violin

Alan Pollack Cheers Livia Sohn July 11 (Nicholas Wilson Photo)

SPLASHY RUSSIAN MUSIC IN MENDOCINO MUSIC FESTIVAL OPENER

by Terry McNeill
Saturday, July 11, 2015

Summer music festivals season tend to be launched each season with a sparkling audience-pleasing program, and the 29th Mendocino Music Festival opening concert was no exception July 11 with an all-Russian program in the big white tent concert hall on Mendocino’s breezy bluff.

Conducted by Artistic Director Allan Pollack, Shostakovich’s Jazz Suite No. 2 was an exciting beginning, a three-movement work from the 1930s that takes raucous orchestration to its zenith. The composer is a master at this kind of music, melding into the rhythms snare drum and trombone solos with in the second movement a “palm court” saxophone part.

Mr. Pollack conducted without score and was able to easily move the music from a circus polka style of the familiar “Waltz 2” movement to a forceful quick ride march in the final “Dance 1.” Bravos from the audience ensued.

Even given the Orchestra’s dynamic playing and catchy themes, the work quickly fades from memory. Not so with the Prokofiev 7th Symphony, the composer’s last from 1952. It’s a curious work, similar to the 7th (and last) of Sibelius in its autumnal character. And there are two possible endings to the last movement, one with a mysterious fade to the bell song of the opening Moderato movement, and one with 22 additional bars of a gallop and pulsating conclusion. I’ve usually heard the former but Mr. Pollack chose the latter, and it worked well.

The noble first-movement theme in C-Sharp Minor was played majestically, the sonic balance good with shining brass contrasting with a lonely triangle part and lovely solos from clarinetist Eric Kritz. Before the lively Allegretto began a faint sound from a rock band from the nearby McCallum House Inn wedding party was heard in the tent, a casualty of how loud music can carry far at night across an ocean bluff. Some audience clapping followed this movement’s conclusion, an acknowledgment of the Thomas Nugent’s oboe playing and pungent trombone and trumpet lines.

The wistful slow Andante was deftly shaped by Mr. Pollack, the music moving through remote keys and graceful colors. Adding to this rich sonic fabric were soft harp arpeggios (Anna Maria Mendieta) and piquant triangle and xylophone playing. A fetching combination.

A lot is going on with the finale’s boisterous march, and the connection to banal parts of the preceding Jazz Suite was palpable. It’s a loud movement in places, the sound distinct through the tent’s direct (non reverb) acoustics. The conductor with his signature sweeping arm movements was able to carefully juxtapose the propulsive and often violent sections with the composer’s mellow nostalgia. It became a satisfying benediction.

Programming this Prokofiev Symphony was a brave choice for Mr. Pollack, and the results were for me the evening’s highlight.

Tchaikovsky ’s marvelous D Major violin concerto with soloist Livia Sohn completed the program. Although even more popular than the Mendelssohn, Beethoven and Brahms concertos, the Tchaikovsky has been seldom played on the North Coast, and the last time I recall it was a potent Marin Symphony performance in 2010 with Vadim Repin.

Thematic richness characterizes the Concerto from 1878, and Ms. Sohn made the most of the Allegro’s stately themes and the conductor’s choice of a slow tempo. The interpretation was not weighty and Ms. Sohn was content to emphasize lyricism, legato ascending scale passages and chaste ritards before delicately held top notes. In climaxes her sound was sporadically covered by the Orchestra, but the long cadenza was played with enough virtuosity, though limited in power, to bring most of the audience of 800 to its feet in an ovation. And it was just the first movement.

In the following Canzonetta Ms. Sohn’s control of pianissimo was assured during short duos with clarinet, oboe and flutists Mindy Rosenfelt and Kathleen Reynolds. The phrases were shaped with elegance and subtle charm.

Without pause the music drove into a lively Allegro vivicissimo, and Mr. Pollack drew from the Orchestra some of the concert’s best playing. The tempo here was brisk, but not so fast that coordination with the violinist was affected. Ms. Sohn’s light and fleet bow technique was well matched to this quintessential pyrotechnical finale, and surprisingly the low register violin sound was as persuasive as the famous splashy high notes.

Applause was long and loud, but no encore was offered.