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GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
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PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM
by Pamela Hicks Gailey
Thursday, July 29, 2021
The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to
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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
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BOGAS' TENURE ENDS IN OUTDOOR GUALALA CHAMBER CONCERT
by Iris Lorenzfife
Sunday, July 25, 2021
The preconcert call that music lovers should gather at Gualala Arts July 25 to attend the final Roy Bogas and Friends Concert was not quite as dire as it sounded. It seems that a year of Covid 19 and an 88th birthday had combined to convince Mr. Bogas that he was working too hard. But with cellist P
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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 “
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RARE LANG SONGS SPARKLE AT VOM FESTIVAL VIDEO RECITAL
by Pamela Hicks Gailey
Wednesday, July 21, 2021
Unexpected pleasures are often the best. Valley of the Moon Chamber Festival presented a such a pleasure last week-a July 21 recorded performance by tenor Kyle Stegall and pianist Eric Zivian in another mini-recital (very mini-just 15 minutes!) of six songs by the nineteenth century German composer
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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 REVIEW
Valley of the Moon Music Festival / Saturday, July 24, 2021
Rachel Ellen Wong, violin; Tanya Tomkins, cello; Eric Zivian, piano

Violinist Rachell Ellen Wong

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 “Friendship,” the concert began with two short pieces that passed without much notice – Louise Farrenc’s Impromptu and Fanny Mendelssohn Hensel’s Adagio. Eric Zivian played the piano in each, with violinist Rachell Ellen Wong joining for the Adagio. Farrenc’s music, recently played by Marin’s ECHO Orchestra, is predictable early romantic writing of little interest. Hensel’s work is occasionally heard with viola, and moves along for under four minutes with some charm, Ms. Wong’s lyrical treble notes were strong with quick ascending and ascending scale passages from Mr. Zivian.

Clara Schumann’s G Minor Trio, Op.17, was the concert’s center and substance. It’s not her strongest composition, but has lovely melodies and throughout the pianist supplied thoughtful bass line support to cellist Tanya Tomkins and Ms. Wong. The composer here gives much prominence to the cello, long before Dvorák and Brahms did, and criticism of the piece usually centers on it being derivative. And it is, and in the long first movement one hears Weber and Robert Schumann’s music, again with thematic declarations by Mr. Zivian. So what, derivative can be splendid. The “wooden” hammer sound and minimal sustain and volume from the c. 1840 piano is an acquired taste, to me mostly okay but often barely so in Romantic era music.

Ms. Tomkins' playing in the Andante was a rich melting cello line, and the duos with Ms. Wong were captivating.

Commentators often cite Haydn and Schubert influences, but I hear none, especially in the pungent Allegretto that concludes the 1847 work. It was animated playing, fresh modulations bringing on forceful phrasing and fervent ensemble that had clarity, especially in the fugal section that returned once with violence.

Responding to warm applause, the trio was joined by violist Andrew Gonzales for an encore – Robert Schumann’s slow Andante Cantabile movement from his E Flat Quartet, Op. 47. The playing was bathed in luxurious romanticism, the slow phrases blending into a colorful tapestry of sultry sound, and Ms. Tomkins’ cello artistry was elegant.