Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
TWO OLD, TWO NEW AT THE SR SYMPHONY'S MARCH CONCERT IN WEILL
by Peter Lert
Saturday, March 23, 2024
Chamber
NOT A SEVENTH BUT A FIRST AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, March 20, 2024
THIRTY-THREE PLUS VARIATIONS AND AN OCEAN VIEW
by Terry McNeill
Saturday, March 16, 2024
Choral and Vocal
A ST. JOHN PASSION FOR THE AGES
by Abby Wasserman
Friday, March 8, 2024
Choral and Vocal
SPLENDID SCHUBERT SONGS IN SANET ALLEN RECITAL
by Terry McNeill
Saturday, March 2, 2024
Chamber
SHAW'S MICROFICTIONS HIGHLIGHTS MIRO QUARTET'S SEBASTOPOL CONCERT
by Peter Lert
Friday, March 1, 2024
Chamber
FRY ST. SQ PLAYS A DEMANDING 222 GALLERY CONCERT
by Terry McNeill
Friday, March 1, 2024
Symphony
YOUTH ORCHESTRA CHARMS BIG SPRING LAKE AUDIENCE
by Terry McNeill
Wednesday, February 28, 2024
Chamber
SPIRITUAL CHAMBER MUSIC MARIN TRIO CONCERT
by Abby Wasserman
Sunday, February 25, 2024
Recital
ELEGANT VOCAL MASTERY AT ROSES SIGNATURE RECITAL
by Pamela Hicks Gailey
Sunday, February 25, 2024
CHAMBER REVIEW
Green Music Center / Saturday, February 13, 2016
Musicians from the Valley of the Moon Festival: Christine Brandes, soprano; Tanya Tomkins, cello; Axel Strauss, violin; Eric Zivian, fortepiano. Additional musicians TBA

Soprano Christine Brandes

ELEGANT VAL MOON SCHUBERTIADE IN SCHROEDER

by Sonia Morse Tubridy
Saturday, February 13, 2016

Musicians from Valley of the Moon Music Festival presented their third Spring concert Feb. 13 in Schroeder. This group focuses on music of Classical and Romantic composers played on historic instruments.

The 1841 fortepiano played by Eric Zivian has an all-wooden frame and shorter strings than a modern concert piano, and it’s light articulate sound blends easily with string instruments. Cellist Tanya Tomkins spoke of a Schubertiade. an all Schubert concert modeled on intimate and casual musical gatherings of Schubert and his friends. Schubert’s inspiration was often drawn from artists, writers and poets in his circle, and Ms. Tomkins commented that Schroeder Hall is the group's favorite venue for chamber music.

Violinist Axel Strauss and Mr. Zivian opened the concert with the D Major Sonatina, the reading replete with eloquent simplicity that carried with it deep emotional undercurrents. Lovely nuanced playing made much of the minimal material. Mr. Strauss's tone was sweet and expressive, the moods shifting with the tone colors and use of the two instruments. The second movement was classically elegant and the third gave a frolic, instrumental lines nimbly alternating, in which big dramatic moments led back to lightness and joy.

A set of Schubert lieder followed, sung by soprano Christine Brandes with Mr. Zivian. Schubert's lieder are among his greatest achievements, and he revolutionized the song form and drew upon the great poetry of his time, with instrumental advances offering a broader palate than the ABA form bucolic songs and arias that dominated the scene before his writing. Ms. Brandes’ set included "Geheimes" and "Lachen und weinen" from Selected Lieder, followed by four from Schwanengesang: "Liebesbotschaft", happy and bubbly; "Ihr Bild" with its emotional swings; the devastating "Der Doppelgänger" (the Ghostly Double); and "Die Tauberpost". These songs gave images and emotions in a variety of moods portrayed masterfully in voice, and the piano part is no mere accompaniment in Schubert songs.

The golden voice of Ms. Brandes filled Schroeder Hall in every dynamic range and her dramatic face and body enhanced understanding of the texts and music. Standing alone in this world of lieder, "Der Erlkonig" (the Erl King) ended the set. Here Mr. Zivian created a mood of terror in the galloping sinister theme and Ms. Brandes sustained the mood, portraying the four characters: The dying child and father on the galloping steed, the narrator and Death. This was a memorable interpretation of a terrifying musical horror story.

After a short intermission Ms. Brandes, Mr. Zivian and Mr. Strauss were joined by Ms. Tomkins, violist Elizabeth Blumenstock, and bassist Michel Taddei. Ms. Brandes first sang Die Forrelle with it's glittering piano accompaniment evoking water, light sparkling and trout life in the stream. The beloved Trout Quintet has a variation movement based on this lied, and here the playing was filled with sound painting and musical drama. The first movement of the Trout Quintet (Op. 114) opens with a glorious A major arpeggio in the piano and this accomplished ensemble carried that energy through the movement with an engaged and energetic interpretation, using accents effectively as bursts of color. The double bass was beautifully played throughout and the fortepiano never covered the strings.

The Andante was a delight with lovely transparent playing, and especially pleasing was the cello/viola duo and the trading of themes between piano and violin. The quiet sections were like whispers caught on a breeze. The Scherzo was played with excellent ensemble, nothing forced or harsh in the foot stomping revelry, with gentle echoes and bell-like piano motifs.

The fourth movement has the "Forelle" theme followed by captivating variations for all the instruments. These variations depict the trout's struggle for survival, some joyful, others darkly dramatic. The fifth-movement finale starts with a unison call and cavorts through march-like motives and dance figures, sometimes bold, other times gentle, until a final effective gallop carries the piece to its conclusion. The audience immediately rose for a standing ovation.

Nicki Bell contributed to this review