Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
American Philharmonic, Sonoma County / Sunday, April 27, 2008
Gabriel Sakakeeny

Gabriel Sakakeeny

A TRIUMPH OF INSPIRED PROGRAMMING

by Terry McNeill
Sunday, May 18, 2008

Season finales for orchestras seem always to be memorable events, and the American Philharmonic Sonoma County concert on May 18 was no exception. Before an audience of 900 at the Wells Fargo Center, the county's 'other' orchestra provided a rousing ending to an adventuresome season.

How adventuresome' In earlier concerts this season, this orchestra of mainly non-professional performers played Stravinsky's 'Rite of Spring' and Scriabin's 'Poem of Ecstasy.' Sunday's menu, aimed at young attendees, shunned the usual 'Peter and the Wolf' and 'Young Person's Guide to the Orchestra,' offering instead five substantial and varied works.

Music Director Gabriel Sakakeeny began in a romantic vein, speaking to the assemblage of the tribulations of Shakespeare's Romeo and Juliet, and then conducting Tchaikovsky's 'Overture-Fantasy' about the doomed lovers. The beginning in the bassoon and clarinet sections was shaky, but it was to be the last pesky playing of a glorious afternoon. Sakakeeny made the most of generally slow tempos to bring out the thematic richness. The cello section was especially sumptuous.

How better to follow the lush Tchaikovsky than with the pungent and now almost equally popular 'Short Ride in a Fast Machine' by California composer John Adams' This joyous minimalist work from 1981, a precursor to 'The Chairman Dances,' begins with a woodblock playing more loudly than the orchestra, which is already at forte, and continues for just four minutes. Sakakeeny kept the hurtling rhythms in check. An Arizona composer friend once lamented that Adams's great success was partially due to using snazzy titles, but here the 'Short Ride' was appropriate and telling.

Completing the first half was another sonic reversal, the 300-year old Concerto for Two Trumpets by Tomaso Albinoni. Soloists Daniel Norris and Thomas Hyde played what I think were B-flat piccolo trumpets. The opening theme was a call to action, with the bright sounds from the adept solo playing easily cutting through the orchestral fabric. Only the most rapid passage work gave the soloists any clarity trouble. It was a celebratory concerto, well played in a Baroque style. Was it a nod to ancient practice to have half the ensemble standing, and half seated'

There is a mystical and religious feel to most of the compositions of Alan Hovhaness (1911-2000), and in his 1970 work 'And God Created Great Whales' the effects are memorable: pre-recorded yelps, snores and grunts of various whales, along with some aleatory parts for the players. The string tremolos, first appearing in the bass viols and then in the violas and violins, were evocative, as were the harp solos and descending trombone slides. An inspired selection, skillfully performed.

The concert concluded with Respighi's colorfully scored 'Pines of Rome,' a four-movement 1924 work. The opening Via Borghese section depicted youthful frolics in Rome's great park, followed by chilling bass sounds from the depths, Catacombs. The highlights came in the Janiculum section, with prismatic arpeggio flourishes from the orchestra's pianist leading to haunting solos from the clarinet, harp, celesta and oboe. The recorded voice of a nightingale provided a benediction.

The brilliant march of the concluding Pines of the Appian Way spotlights off-stage brass and English horn solos, driving the music to an inexorable climax, a champagne orgy of sound fitted to a marching Roman army outbound on a quest for empire. The orchestra's brass section made a generous contribution to the surround-sound effect. Here one couldn't quibble with the Wells Fargo Center's acoustics, as the dramatic effects brought listeners into the army's Appian Way column and ultimately to their feet.

Sakakeeny has said that repertoire choice is crucial to the success of the American Philharmonic, perhaps more so than for the Santa Rosa Symphony or even the San Francisco. People come to the last two orchestras often by tradition, but the American Phil lives or dies by providing familiar and sporadically challenging music to listeners, many of whom are having their initial symphony experience. The orchestra is meeting this need, and their concert was a triumph of inspired programming and adroit playing.