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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, May 16, 2009
Bruno Ferrandis, conductor
Cecile Licad, piano

Cecile Licad

TURANGA-LITE IN SANTA ROSA

by Steve Osborn
Saturday, May 16, 2009

Olivier Messiaen’s 10-movement Turangalîla-Symphonie is rarely performed because of its length (about an hour and a quarter) and its unusual instrumentation (the score calls for ondes martenot, vibraphone, and glockenspiel, among many other instruments). The double whammy makes performances of this 20th-century masterpiece hard to find — and fund.

For the second half of its May 16 concert, the Santa Rosa Symphony tried to solve the Turangalîla problem by performing only three movements without skimping on the instrumentation. In place of the other seven movements, they offered UCLA musicologist Robert Winter, who tried to explain what Turangalîla was all about to the presumably bewildered suburban audience.

Although Winter’s comments were occasionally insightful, they couldn’t atone for the basic fact that every minute of Winter was one less minute of Messiaen. At about 20 minutes, his introduction lasted nearly as long as the three-movement Turangalîla excerpt (pegged at 22 minutes in the program notes). With all due respect, Winter should have introduced the piece during an optional preconcert talk so the orchestra could have performed the entire work during the concert proper. Who cares about time (or words) when you’re listening to music as transcendent as Messiaen’s?

One reason for the Turanga-lite offering was the concert’s format, which hewed to the traditional short work and concerto in the first half, followed by a symphony in the second. In this case, the short work was Wagner’s “Nachtgesang” from Tristan und Isolde (another excerpt), and the concerto was Ravel’s G major for piano, performed splendidly by Cecile Licad.

Both these works were wonderful in themselves, but they became even more significant during the subsequent Turangalîla excerpt: the Wagner because it recounts the same love story as the Messiaen; the Ravel because it employs many of the same compositional techniques.

Under the watchful baton of Maestro Bruno Ferrandis, the cellos began the “Nachtgesang” sotto voce, barely rising above a whisper. The pace was luxuriously slow, and the stress of a long, hot day in Sonoma County seemed to flow out of the audience as Wagner’s “night of love” settled on them. The ensuing trumpet and trombone solos were crisply played, and the rest of the orchestra responded with long, flowing lines that sustained the amorous mood, however briefly.

The Ravel, which begins with the snap of a whip, marked an abrupt shift. Licad leaped into her treacherous lines with tremendous drive and energy, mouthing the key phrases as she stared at the keys. She generated considerable volume and sculpted her phrases flawlessly, even under the onslaught of Ravel’s continuous tremolos. When the jazz-inspired first movement ended, a sizable portion of the audience erupted in applause.

The same unconventional enthusiasm greeted Licad's playing of the second movement, which begins with a long, languorous piano solo. When the orchestra did finally enter, it seemed to be playing accompaniment for an entirely different piece. Here was the connection to Messiaen, who often sets various sections of the orchestra on distinct tracks that nonetheless cohere. The luxurious performance was marred only by a world-record attempt at unwrapping a cough drop, a sound that managed to carry across the balcony through much of the movement.

Any possibility of distraction was blown away during the third movement, which begins as a furious cascade of notes and gets ever so much more so by the end. Licad’s unflagging intensity was matched by the orchestra, in particular by a wonderful bassoon solo. Sadly, the standing ovation didn’t produce an encore.

The piano remained on stage for Turangalîla, but the pianist changed, rematerializing in the form of veteran Bay Area soloist Miles Graber, who shared the limelight with ondes martenot player Mary Chun. Both sat patiently, along with the rest of the orchestra, as Professor Winter expounded on Messiaen, but they kept the blood flowing by playing occasional excerpts at his bidding.

Winter’s introduction may have been helpful for some in the audience, but it was delivered at such a rapid clip and with such flippancy that enthusiasm soon waned. There seemed to be palpable relief when the music actually began.

The orchestra played movements 3, 4, and 5 of Turangalîla, beginning with “Turangalîla 1” (one of three movements whose name is the same as the symphony), continuing with “Chant d’Amour” (Song of love) and concluding with “Joie du Sang des étoiles” (Joy of the blood of the stars).

Ferrandis was completely unflappable, keeping a steady beat and delivering laser-sharp cues despite the music’s overwhelming complexity. The rhythmic variety of the opening movement gave way to the ethereal love song of the second, which featured Graber’s sparkling piano. Both, however, were overshadowed by the last movement, one of the most powerful works ever written for an orchestra.

From the supercharged beginning in the brass to the robust entrances of all the other sections and soloists, Ferrandis maintained a fever pitch of excitement and rhythmic drive. The orchestra seemed to hurl itself into this ecstatic dance, leaving no doubt about the movement’s underlying narrative. It was a rousing performance, beyond words in its intensity. What a pity it had to end so abruptly. Next time, perhaps, the words can be fewer and the music more.

[Reprinted with permission from San Francisco Classical Voice]