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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...
Recital
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...
Symphony
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...
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.