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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
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...
Symphony
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...
Recital
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...
Recital
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...
Chamber
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...
Recital
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...
Symphony
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,...
Symphony
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...
SYMPHONY REVIEW

College of Marin Orchestra Conductor Tara Flandreau

TWO HALVES WITH A FEW HOLES

by Terry McNeill
Sunday, November 22, 2009

After many decades of attending concerts, a listener (or reviewer) faces a tough decision after hearing a first half that in some way is not a complete artistic whole. Leave early or stay for the promising second part? In almost every case not hearing the music that follows intermission would be a mistake. It was thus at the College of Marin (COM) Symphony Orchestra’s concert Nov. 22 at Unity Church on the old Hamilton Air Force Base.

Just two works comprised the program, the first being the most popular of all piano concertos, Tchaikovsky’s No. 1 in B Flat, Op. 23. COM faculty pianist Paul Smith made a heroic effort as the soloist to make the best of a less-than-ideal set of circumstances. The hall, packed with extra seats in the aisles, was overly bright with a long reverberation. The piano was not of professional caliber, and the orchestra, under the baton of Tara Flandreau, experienced pesky intonation problems and inconsistent brass playing. That said, the first movement unfolded with pliant string sounds, fluent but conventional phrasing from the conductor, and the wonderful clarinet playing of David Treganowen. Mr. Treganowen, along with flutist Bruce Salvisberg and bassoonist Karen Wright, played elegantly all afternoon. Mr. Smith’s cadenza, using a lot of pedal in an attempt to generate sound from the instrument, was in the grand manner if not in the middle of the Russian romantic tradition.

In the Adagio, the orchestra’s persistent covering of the soloist disappeared, and a more satisfying interplay of lines appeared. The long trills from the piano were evenly shaped, and the fetching themes were stated with dignity.

Tchaikovsky’s concluding movement has equitable balances between the piano and orchestra, and Ms. Flandreau was in no hurry to get anywhere. Right up to the famous ascending forte octave passage for piano, the orchestra played well. Mr. Smith made the most of these octaves, using half-pedal and getting as much sound as the instrument would give. He didn’t choose the left-hand octave tremolo at the final tutti. A standing ovation ensued.

Shostakovich’s Fifth Symphony is a daunting prospect for a non-professional orchestra, the technical demands to the last desk heavy and nearly always exposed. But the 1937 work brought a sharply different orchestra than was heard in the Tchaikovsky, the attacks and releases more sure, the strings more resonant. There was more security of pitch for the brass section, and the addition of the accompanying piano and electronic celesta was welcome. In the opening Moderato, the big sound was clear, and the tempo was steady. Piccolo soloist Dawna Stebbins played with penetrating clarity. Virtuosic playing in the second movement came from Ms. Wright and from the pizzicato unisons in the strings.

The long Largo, a precursor to Hovhanness’ “Mysterious Mountain” Symphony, was taken at an overly relaxed tempo, but it also left plenty of time for the counterpoint from Messrs. Salvisberg and Treganowen and the beguiling harp playing of Michelyn French. A threnody, the sad march moved deliberately along, the harp and celesta parts in a duo which echoed much of the composer’s more dissonant and longer Fourth Symphony (1936).

Ms. Flandreau brought to the Allegro non troppo the requisite power, the return of the march theme again having the benefit of precision string playing and the reiteration of the “A” notes in the violins. The tympani solo (Robert Jakubs) was positively militaristic, a sober introduction to the carnage of the finale, where Ms. Flandreau carefully slowed the tempo to the last potent chords, holding the audience breathless.

Shostakovich’s mighty creation always generates a standing ovation, and it received one here.