PRESS

From Classical Sonoma

“Fresh, enlightening and moving.”

“Stunning programs of 19th and 20th century chamber music.”

"Eric Zivian, Northern California’s premier fortepianist...convinced even skeptical listeners of the fortepiano’s center stage role." 

"Tomkins was magnificent.”  

“Great music and professional musicians would provide exciting concerts, but there is much more to this Festival. There is an apprentice program for young artists who are coached and then perform, not only in their own groups, but included with their teachers in all concerts. This new/old tradition breathes a wonderful vitality into VOM Festival.”

From the San Francisco Chronicle

“The setting couldn’t be more inviting, but the music is what really draws people to the Valley of the Moon Festival.”  

From the Kenwood Press

“Performing artists are world-renowned musicians on the faculties of institutions such as Juilliard, the Paris Conservatory and the San Francisco Conservatory. They are experts in historic performance techniques and have decades of experience in Classical and Romantic chamber music.”

From The Press Democrat

“The Valley of the Moon Music Festival continues to evolve with innovative themes and experiences to deepen the listener’s appreciation of the context of the music and the rustic setting of the Sonoma Valley.”

“The period instruments – featuring quieter, gut strings on the violin, viola and cello, and a warmer sound on the small, wood-frame pianos – make it much easier to create a balanced sound that is nevertheless full of subtle colors and breathy timbres.”

The New Sound of Old Instruments
by Abby Wasserman
Sonoma Magazine, July 2018

Tanya Tomkins and Eric Zivian on the Valley of the Moon Music Festival
by Jeff Kaliss
June 2015, San Francisco Classical Voice

 From the San Francisco Classical Voice

“Playing in the surprisingly good acoustics of the Hanna Boys Center auditorium in the town of Sonoma, soloist Rachel Barton Pine and five colleagues brought down the house with an inspired performance of Chausson’s rarely heard masterpiece.”

“Zivian’s all-wooden frame Rausch fortepiano, a 6½ octave Viennese instrument from 1841, Tomkins’ cello, made in London by Joseph Panormo in 1811, and other period instruments arriving courtesy of guest artists and apprentices lend authenticity to the experience.”

 “This is a deeper investigation: it’s an authentic take on how people experienced music at that time,” (Tanya Tomkins quoted by SFCV).

“We’re the mini-Marlboro on period instruments,” (Tanya Tomkins quoted by SFCV).

FOR PRESS USE
photo credit Margo Moritz

FOR PRESS USE
photo credit John Heft