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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
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.