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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
SYMPHONY REVIEW
Marin Symphony / Tuesday, May 05, 2009
A Tribute to Aaron Copland
Alasdair Neale, conductor

Conductor Michael Morgan

LOUD AND BRASSY COPLAND IN MARIN

by Terry McNeill
Tuesday, May 05, 2009

Aaron Copland’s orchestral scores are so familiar as to seem old-shoe, even when his not-so-familiar Third Symphony dominates a program. Such was the case May 5 when the Marin Symphony performed an all-Copland concert in the Civic Auditorium in San Rafael.

The novel part of the program was at the podium, where seasoned East Bay conductor Michael Morgan substituted for the symphony’s ailing music director, Alasdair Neale. Nothing in the “Hoedown” from Rodeo or in the perennially satisfying suite from Appalachian Spring fazed Morgan, who led a thoroughly controlled performance characterized by moderate tempos and accomplished brass and wind sections.

“Hoedown” is a three-and-a-half minute romp that ends with a grand fanfare. It had all the pizzazz of a proper opening work. In contrast, the very slow beginning of Appalachian Spring exuded romanticism. Morgan’s beat was consistently clear and effective in balancing sections. Arthur Austin’s clarinet playing was elegant and frequently a gorgeous duo partner with other winds, the signature triad figure paced perfectly throughout. Trumpets (especially Cale Cumings) and trombones also thrived in the composer’s nostalgic harmonies and long-lined phrases, and percussionist Kevin Neuhoff was masterful.

At intermission, at least half of the large complement of musicians stayed on stage, madly rehearsing for the long Copland Symphony No. 3, which occupied the entire second half. The symphony, from 1946, demands a lot from musicians, and it is filled with echoes of Shostakovich and Mahler. Throughout the performance, Morgan evoked the expansive score’s dignity and heroism, but he never lost sight of delicate phrase endings in the string sections. He was in no hurry at any time, the tempos giving heft rather than edgy momentum.

Copland’s symphony is filled with loud, demanding music, as evidenced by the trumpets (played here by Principal Scott Macomber and James Rodseth), which lead contrapuntal lines and simply blaze away. In the final Molto deliberato some of the precision brass duos were not quite in sync, but perhaps stamina was at issue rather than any lack of musical commitment.

Special praise needs to go to Morgan and the violins for the lovely and seamless transition from the third to fourth movements. They proceeded deftly from often spare and ambiguous harmonies to the jazzy rhythms of the finale, a part crammed with more loud brass, wood-block syncopations and the familiar Fanfare for the Common Man theme. The orchestra moved through the two key changes and resounding percussion parts with aplomb.

The lengthy symphony didn’t seem long under Morgan’s deft direction, and the orchestra played with great energy, well deserving the standing ovation from a sonically overwhelmed but obviously thrilled audience.