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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, January 23, 2010
JoAnn Falletta, guest conductor
Michael Ludwig, violin

Conductor JoAnn Falletta

THE RED AND THE WHITE

by Steve Osborn
Saturday, January 23, 2010

In the old days, barbers were also surgeons, as adept with a scalpel as a razor, their red-and-white barber pole an emblem of both surgery (red) and hair-cutting (white). At its Jan. 23 concert, the well-coiffed Santa Rosa Symphony enacted this dual role, offering both some serious blood (from a real Barber) and an bit of hair-trimming (from Carter, Corigliano and Copland).

First to the Barber blood, which was last on the program but well worth the wait. For many classical listeners, Samuel Barber is the “Adagio for Strings” and maybe one or two other compositions. That number might have to be expanded to three or four after hearing the Santa Rosans’ performance of “Symphony in One Movement,” a compact work from 1936 that contains as much genuine excitement and raw emotion as symphonies three times its length from European masters.

Under the steady baton of guest conductor Joann Falletta, the orchestra showcased all its many talents in a full exploration of Barber’s masterpiece. The duets and trios from the woodwinds were particularly evocative, but everyone contributed to bringing out the romanticism and lyrical expansiveness of Barber’s score. Short but sweet, Barber’s symphony plunges right into the emotional depths, illuminating the journey with brilliant orchestration and finally surfacing with a sure command of musical form. The performance was all one could have asked for.

In contrast, the program leading up to the Barber seemed more consumed with style than substance. The opening work, Elliott Carter’s “Holiday Overture,” was both rousing and festive, but it never settled into anything weighty. Some of the lack of heft might be attributed to Falletta’s conducting technique, which is quite fluid but curiously immobile. She tends to plant her feet on the podium and conduct with her upper body. The effect is graceful, but the musical narrative is often confined.

A similar problem afflicted John Corigliano’s “Red Violin Concerto,” performed by the virtuosic Michael Ludwig, who recently recorded the work with Falletta and her main orchestra, the Buffalo Philharmonic. Viewers of the movie “The Red Violin,” released in 1998, will probably recall snatches of the score, such as the recurring main theme and a metronome sequence where a young orphan plays faster and faster in servitude to his beloved instrument.

All those elements are present in the “Red Violin Concerto,” but without the movie to tie them together, they struggle to cohere. The first movement, which begins with a series of double-stops on the violin, is perhaps the most successful. Reading from a score, Ludwig took off running, his intonation impeccable, his vibrato expressive, his bowing a model of fluidity. Most blessed of all was his sound projection, with his diminutive violin easily carrying over the full orchestra behind him.

At times, the opening movement sounded like one of the Bach sonatas for solo violin, particularly in the lengthy cadenza, with its stately tempo and drone-like use of the lower strings. Ludwig took full advantage of the powerful melody, echoing its refrains through many iterations.

The musical materials in movements two through four, however, were far less resonant. The second tried to stir things up with an insistent tremolo; the third searched in vain for a gripping theme; and the fourth reenacted the metronome scene with an obvious contrast between orchestra (metronome) and soloist (doomed young boy).

Throughout the concerto, Ludwig displayed impeccable skill and musicianship, no matter what the music. The standing ovation elicited one encore, Fritz Kreisler’s “Caprice Viennois.” Here both Ludwig and orchestra shone, investing the legendary virtuoso’s light-hearted fare with just the right amount of feeling.

That leaves only Aaron Copland’s “El Salón México,” which seems to have been intended as a space filler for the second half, given the brevity of the Barber symphony. Aside from a wonderful bassoon and saxophone duet, the piece never caught fire. It was a victim of its own simplistic structure, too self-evident to inspire much interest.

Fortunately, the Barber soon followed, bringing the evening to an inspired finish.