DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Cellist Julie Albers
WHAT DVORAK KNEW
by Steve Osborn
Saturday, November 07, 2009
On reading the score of Antonín Dvořák’s magnificent Cello Concerto in B Minor, Op. 104, Dvořák's mentor Brahms is reputed to have said, “Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!”
What Dvořák knew was that the cello could be a soaring solo instrument, on a par with the violin, if placed in the proper orchestral context. With its low register, a solo cello is often in danger of being drowned out by all those piercing fiddles; but if the orchestra is held at bay, the cello can truly shine.
This solution for cello concertos was on full display Saturday at the Santa Rosa Symphony concert, where soloist Julie Albers joined the symphony under Music Director Bruno Ferrandis for a riveting performance of the Dvořák concerto. Despite the infamous acoustics of the Wells Fargo Center in Santa Rosa, Albers managed to project her sound not only above the orchestra, but also to the farthest reaches of the balcony.
Ferrandis set the stage for Albers with a dainty yet sure-handed performance of the Prelude to Rusalka, the only Dvořák opera in the standard repertory. This late work, composed after the composer’s return to Bohemia from America, centers on water nymphs, and the music is accordingly gossamer-thin and delicate. Lightness was the order of the day, and Ferrandis spent most of his time with his fingers to his lips and his hands held up as if calming traffic. His efforts paid off, producing a shimmering though all too brief performance that made me want to hear the rest of the opera.
Instead of a water nymph, Julie Albers then strode on the stage, looking quite land-based in a strapless brown gown, with matching long brown hair. Her subdued ensemble set off her slender yet muscular arms and fingers to dramatic effect. And when she sat down, those arms and fingers soon became the center of attention, playing her chosen instrument with consummate artistry and skill.
Mastery is a given for world-class soloists, but it never ceases to amaze lesser mortals how someone can play an instrument to such perfection, with every note in time and in tune, every phrase fully articulated, every dynamic precisely controlled. If I’d known one could play a cello like Albers, I would have taken it up long ago.
Perhaps the most impressive aspect of Albers’ playing was her intonation and confidence in the cello’s upper register. With her left arm extended over her instrument, her digits positively danced at the end of the fingerboard, landing right in the center of each note. She had a fabulous glissando, impeccable double stops, and the trill of a hummingbird.
As Albers developed the majestic theme of the opening movement, Ferrandis kept the orchestra in check, repeatedly beseeching them to be quiet and let the cello radiate outward. This strategy continued in the quiet middle movement, where the balance is even trickier. Albers’ solo here was luminous and expressive, evoking a tranquil pastoral scene complete with chirping birds from the woodwinds.
Albers began the final movement with a strong statement of the theme, played with real rhythmic flourish. Her runs were dazzling, but she continued to shine above all in the quiet passages, which were positively serene. Ferrandis and the orchestra matched her note for note, making for a memorable performance of a true masterpiece.
The masterpieces continued in the second half, given over to Dvořák’s Symphony No. 9, “From the New World.” That world is usually identified as America, where the composer wrote both the symphony and the cello concerto, though the ambiguity of the title suggests many other possibilities. The only certain conclusion is that this particular symphony is forever new, as refreshing on the hundredth hearing as on the first.
Performing standard repertory is a challenge for conductors who want to leave their mark on the music. Some change the tempos, bring out certain voices, even fiddle with the score. Ferrandis, however, played it straight, deciding only to invest the work with as much energy and happiness as possible. His horses were already at full gallop when they left the barn in the first movement, and he spurred them onward by literally jumping up and down on the podium.
The famous English horn solo at the outset of the second movement, played here by Laura Reynolds, transformed velocity into sweetness, and the subsequent playing throughout the orchestra was suffused with melody and strong dynamic contrasts. The last two movements resumed the energy of the first, reaching a high point with a terrific brass entry at the beginning of the fourth.
The performance was both self-effacing and triumphant. Through his diligent efforts, Ferrandis made clear what a great piece of music the “New World” symphony is, and his talented musicians gave a performance to match his vision.
[Reprinted with permission from San Francisco Classical Voice]