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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.