Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport.
Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater.
Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Organist Robert Young
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 Director at St. Patrick’s Episcopal Church in Kenwood.
The artist designed the program around two of the giants of the stylus fantasticus, Buxtehude and Georg Böhm, both of whom had a profound influence on the development of Bach’s music that was featured in the third part of the program. Mr. Young gave informative commentary throughout the recital explaining how each piece exhibited the fantastic style as well as the relationship between the three featured composers. History now shows that Bach likely studied with Böhm and it’s known that the young Bach walked more than 250 miles to hear Buxtehude play.
Buxtehude’s Praeludium in G minor (BuxWV 149) is one of the best-known works of this style and was the perfect way to open the program. It is a text book example, starting with a free improvisatory section of technical brilliance for the hands and feet, which is followed by a quieter fugal section, then a quick ritornello bridge to a grand fugue and improvisatory ending. Mr. Young brought the piece to life with his spirited playing and expert choice of different registrations (sound color) for each section.
He finished the Buxtehude section of the program with one of his most beautiful chorale preludes, “Nun bitten wir den heiligen Geist,” BuxWV 208 (We now beg the Holy Spirit), which has the chorale melody as an ornamented solo in the right hand with imitative accompaniment in the left hand and pedal. It was the perfect antidote to the opening piece as Mr. Young used the quieter stops of the organ with a nice mutation and tremulant to give the melody an otherworldly feel.
Next came the first piece by Böhm, his chorale variations on “Auf meinen lieben Gott” (In my beloved God I trust). Böhm is credited with developing the Chorale Partita form and this set of four manuals-only variations was a perfect little example of his craft. While less free than some of the wild Praeludia of the time, it definitely exhibited elements of the fantastic style with the first variation opening with a flourish of running sixteenth notes and an ornamented melody followed by a fugal variation, which Mr. Young nicely contrasted with a spikey articulation on the first and a stately elegance for the fugue as well as with his choice of registration, choosing overtone laden mutations for the first and clean, clear principals for the fugue. The third variation was a bicinium (two-part piece) with an interesting basso continuo voice, highlighted nicely with a cornet stop, which accompanied a mostly unadorned melody in the right hand. The set finished with a grand trio that devolves back into a few measures of technical bravado showing that even when trying to be more restrained, the fantastic style still comes through!
The Böhm section finished with one of his non-partita chorale preludes, “Gelobet seist du, Jesu Christ” (Praise be to you, Jesus Christ) which provided a welcome moment of rest after the energetic partita. Mr. Young played on the quiet bourdon stops of the organ with a lovely legato touch for the accompaniment and a pleasantly nasal reed for the plaintive character of the melody.
Then it was time for Bach, but youthful pieces that still clearly exhibit the influences of the stylus fantasticus masters, Buxtehude and Böhm.
Bach’s “O Gott, du frommer Gott,” BWV 767 (O God, you righteous God) is one of his chorale partitas with many of the same figurations and textures of the Böhm example earlier in the program, but Bach is always extending things, including the chorale and eight variations! It opens with a simple statement of the choral which Mr. Young played on the organ’s singing principal sounds and continues through eight wonderfully different manuals-only settings of the chorale from two-part to trios to a grand finale which some have conjectured was influenced by the French dialogue organ style with contrasting forte and piano phrases. Mr. Young kept the listener’s attention with a wide array of registrations giving us a nice tour of the Casavant’s tonal palette.
The Bach section closed with his two settings of “Jesus Christus, unser Heiland,” BWV 665 & 666 (Jesus Christ, our Savior) from the Leipzig Chorales. Mr. Young’s interpretation of BWV 665 was very dramatic with near full organ in the manuals for the running sixteenth notes and a resounding reed highlighting the quarter note melody in the pedal. It was everything people expect when they think of organ music and Mr. Young did not disappoint. BWV 666 is more introspective with a lilting 12/8 meter and the melody unadorned in the soprano. The artist’s choice of a simple quiet flute stop allowed the listener to focus on the beauty of the figuration which moves from tranquil eighth notes in the beginning to flowing sixteenths in the last half of the piece.
The concert closed with Böhm’s most enigmatic piece, his “Präludium, fuge und postludium” in G Minor, which is equally effective on the organ or harpsichord. It is a wild piece and Mr. Young even commented that it looks crazy on the page and it took him a while to get his head around the work. The Präludium throws you off from the beginning as it starts on beat two of a triple meter and continues building up a relentless series of half-note chords from a single bass note up to six voices. The fugal section doesn’t provide any rest as the spritely subject keeps the energy going right into the postludium, which provides a mirror to the präludium with a series of downward sixteenth note arpeggios that drive to a chordal full-organ adagio. Mr. Young warned us not to clap too early as once we think the piece is over, there will still be the postludium to come.
It was a great end to the concert and the large audience showed their appreciation with enthusiastic applause. A member of the Vestry at Incarnation thanked Robert and said it was wonderful to have someone who can make their organ sing so beautifully each Sunday. There was no encore, which was welcome given the heat of the afternoon.