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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
CHAMBER REVIEW
Valley of the Moon Music Festival / Saturday, March 31, 2018
VOM Festival Musicians: Tanya Tomkins, cello; Monica Huggett violin; Eric Zivian, piano.

Monica Huggett, Tanya Tomkins, Eric Zivian March 31 in Schroeder Hall

VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL

by Terry McNeill
Saturday, March 31, 2018

At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schroeder Hall.

The concert was the second in a series, and titled “The Little Orchestra.” As in past performances, a piano from the abbreviated period of the programmed music (1788-1802) was used, and the bowed instruments used gut rather than steel strings. This is standard fare for the VOM musicians, at their summer Sonoma Festival and at sporadic winter and spring season concerts in Northern California.

Often the lack of a modern concert grand and reduced string thematic projection are a sonic concern, but this afternoon I found the ensemble was balanced and the Schroeder acoustics warm and complimentary to the audience of 125.

Prior to the opening Mozart’s C Major Trio received Ms. Huggett’s remarks from the stage depicted the era of the afternoon’s works, and were concise and at turns humorous. So different from the fluff of many preconcert speeches. The K. 548 Trio received a lovely performance, though often the cello part was subsidiary and an occasional “extra voice” was given to Mr. Zivian’s piano line. Ms. Huggett doesn’t possess a commanding violin tone, and all day her intonation, especially at initial attacks, wandered off pitch. That said, her style and approach to Mozart and the Haydn G Major “Gypsy” trio that followed I found beguiling and irresistible.

The Haydn, from 1795, was more of the same lyrical simplicity, fast in the Hungarian Rondo finale. It’s that kind of work, and the brisk tempo with felicitous dynamic control from all three performers brought the first half to a close.

Ms. Huggett again addressed the audience prior to her and Mr. Zivian’s performance of Beethoven’s A Minor, Sonata, Op. 23, in three movements. Playing as throughout the concert from score, the violinist gave a warm and sometimes restrained reading, holding the bow (as did Ms. Tomkins) well up from the frog. She had inventive phrasing and in the andante scherzoso caught the composer’s humor during the quasi-fugal parts. Mr. Zivian provided excellent support, and never covered the violin, though his instrument has limited tonal sustain from the use of the knee-actuated damper pedal. The finale, similar in drama and ending to Beethoven’s “Tempest” Piano Sonata in D minor, explored distant keys and the performance was a highlight of the concert.

Hummel’s music is a stranger to the North Coast, but recently the Tilden Trio played a fine E Flat Major, Op. 93, at Dominican University in San Rafael, and the VOM Trio closed the concert with F Major Trio, Op. 22. The cello is used in novel ways in the piece. Here they used more rubato than in the Haydn and Mozart, and the theme and variations in the andante were elegantly performed, with a unison ending for three instruments. Mr. Zivian’s commanded fast scales here and in the more forceful final movement, played off the “Czardas” and gypsy rhythm inflections from Ms. Huggett. Well, the composer, though certainly cosmopolitan, was Hungarian.

Audience applause was robust, no encore ensued, and as at seemingly each VOM concert a gratis reception was provided in the Hall’s lobby with provocative conversations with the musicians.