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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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.