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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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]