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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.