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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, October 10, 2009
Bruno Ferrandis conductor; Jeffrey Kahane, piano soloist, playing "Rach 3"

Jeffrey Kahane, pianist and former SRS Music Director

10 POINTS FOR KAHANE, FERRANDIS IN SR SYMPHONY OPENER

by Steve Osborn
Saturday, October 10, 2009

Rach 3 scored a 10/10 at the Santa Rosa Symphony season opener on 10/10, and will presumably do the same on 10/11 and 10/12. The first 10 (for style) goes to Jeffrey Kahane, who infused Rachmaninoff’s late-Romantic masterpiece with thoroughly modern passion and drive. The second 10 (for technical difficulty) goes to Bruno Ferrandis and his attentive musicians, who provided the perfect foil for Kahane’s pyrotechnics.

The highly anticipated performance of Rachmaninoff’s third piano concerto, with its coupling of the symphony’s former maestro Kahane and successor Ferrandis, got all the ink and most of the applause, but the second half of the program proved equally satisfying, with a sparkling performance of Shostakovich’s Symphony No. 9. The only black mark was a weak concert-opening overture by a third Russian composer, the obscure Nikolai Miaskovsky.

It’s hard to understand why Ferrandis chose to open the concert with Miaskovsky’s “Salutation Overture,” originally intended to celebrate Stalin’s 60th birthday in 1939. It’s Russian all right, a core requirement for an all-Russian program, but there are plenty of other overtures by better Russian composers (e.g., Tchaikovsky, Prokofiev) that would have opened the concert on a stronger note. Instead of “movie music,” the Miaskovsky might best be classified as “newsreel music,” the kind of ear cleaner one hears while watching historic black-and-white propaganda films of Stalin reviewing the troops. Mercifully, it was soon over and just as soon forgotten, utterly obliterated by the opening measures of Rach 3.

Kahane, greeted by a roar from the sold-out house, launched right into Rachmaninoff’s bewitching concerto, leaning back to play the opening bars. He stared up, not down, as if receiving inspiration from some force other than his hands and instrument. He brought out elements of the lush piano line that this reviewer, for one, has never heard from other interpreters. His sense of rhythm was particularly compelling, at times almost jazzy, playing off the orchestra’s solid beat.

In addition to his interpretive prowess, Kahane managed to make the piano utterly distinct from the orchestra. The notes from his concert grand rang throughout the Ruth Finley Person Theater, no mean feat in that acoustically dead space. Absent any evidence of microphones or amplification, all that sound came from the mighty carpals, metacarpals and phalanges of Kahane’s hands, ably assisted by the rest of his frame.

The quality of Kahane’s playing came to the fore in the lengthy cadenza near the end of the first movement. He flung his hands in the air after each perfectly executed run, with every note distinct and sonorous. Meanwhile, he was in complete command of dynamics, turning phrases from fortissimo to pianissimo with the flick of a wrist. When the oboe and French horn entered for their respective solos, Kahane transformed himself into a sensitive accompanist.

That sensitivity was on full display in the second movement, with its beautiful slow theme. Kahane’s interaction with the orchestra here was magical, marred only by his odd decision to open and occasionally consult a not very well hidden score laid atop the piano’s tuning pins.

In any event, by the middle of the rollicking third movement, Kahane gave up on the score and reverted to full engagement with the orchestra and audience. He seemed to throw his entire body into the keys, often lifting out of his bench after particularly thunderous chords. When he reached the tumultuous ending, he jumped up, along with the entire auditorium, which gave him a loud and long ovation, quieted only by his serene encore, the “Evocation” by Isaac Albéniz, the first piece in the composer’s Iberia collection for solo piano.

At intermission the patrons were all aflutter about Kahane’s triumphant return, wondering what the orchestra could do to top that. A few decided to go home, accounting for a smattering of empty seats in the second half. They missed a performance that equaled the Rachmaninoff in every respect.

Despite their number (15) Shostakovich symphonies are rarely performed in the North Bay, and my guess is that most of the audience, including me, had never heard No. 9. What a great piece of music! And what a great performance! The first movement began with a sprightly tune in the strings, followed by an endearing piccolo solo. The musicians played with great intensity, positively romping through the festive score. In contrast to the heavy orchestration of the Rachmaninoff, the sound here was crisp and transparent, almost like a chamber orchestra.

The second movement offered a strong contrast to the first, with a heartfelt clarinet duet at the beginning, followed by lush playing throughout the orchestra, marred only by one oddly flat note from the upper winds.

The third, fourth and fifth movements, played together without pause, ranged across the entire orchestra, giving almost every section its moment in the sun. The third opened with a dazzling fanfare from the winds, followed by a trumpet solo, then an impressive trombone volley. The real standout, however, was a long bassoon solo in the elegiac fourth movement. The sound was haunting, mysterious and quintessentially Russian.

After all that anguish, the concluding movement was a joyous affirmation. Ferrandis, using relatively spare motions, egged his players on to an increasingly frenzied pace. They moved together as one to the breathless conclusion, which seemed to catch the audience by surprise. After a short pause, they burst into applause. It wasn’t the thunderous ovation that Kahane received, but it was sustained, allowing all the symphony’s talented soloists to receive their due.