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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.