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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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, February 13, 2010
Bruno Ferrandis, conductor
Berenika, piano

Berhzad Ranjbaran

THREE HITS AND A MISS AT SRSO CONCERT

by Terry McNeill
Saturday, February 13, 2010

In the fifth set of Santa Rosa Symphony concerts in the current season, conductor Bruno Ferrandis programmed a world premiere and ended with a familiar Schumann symphony. In between were Chopin’s F Minor Piano Concerto, Op. 21, with soloist Berenika Zakrzewski, and Schumann's "Manfred" overture.

Berhzad Ranjbaran’s “Mithra” was the premiere, part of the Magnum Opus series of new works commissioned by a Silicon Valley philanthropist and played subsequently by three Bay Area orchestras. It was a fetching composition, with fine playing from the Orchestra and good control of sonic balance from Mr. Ferrandis. In three sections, beginning with a haunting flute solo by Kathleen Lane Reynolds, the work spotlights low-register strings, with many short motives competing for prominence. Bits, but only bits, of Shostakovich orchestra color populate the first section, the woodwind slides intriguing and combining with piquant notes from marimba. The middle section, faster and with no less intensity than the opening part, was energetically played. Mr. Ranjbaran has a consummate command of orchestration and instrumental color.

After two sets of what can be called four-note “thuds,” a lyrical harp solo from Randall Pratt introduced a lofty flute passage, creating a bucolic effect with the violins playing with diminished vibrato. The final chords, carefully paced by Ferrandis, magically brought the 15-minute piece to a gentle end. Ms. Reynolds’ sui generis work with the flute is a pillar of the Orchestra. One wonders why she hasn’t played a formal recital here in many years. Are there any flute recitals anymore?

Berenika (the stage name she prefers to use) was less than impressive in the Chopin concerto, a luscious composition built on thematic designs from the Italian operas the composer loved. Mostly she didn’t have a musical clue of the subtlety and lyrical richness of the work, and for this writer it was the least professional performance of a concerto heard within memory in Wells. Looking back to past SRSO performances of standard repertoire, Lang Lang camped and banged his way through the Rachmaninoff Third many years ago, but understood the grandeur of the work. More recently Jonathan Biss played a boring Schumann A Minor Concerto, at least until the finale, but understood the composer’s rhythmic delights.

Here the tempos Mr. Ferrandis used, nearly throughout, generated muddy passages in fast scales from Berenika and lack of cogent phrasing. The reading was as fast as the ne plus ultra of Op. 21 recordings, the Hofmann/Barbirolli/NY Philharmonic from 1938, even though Barbirolli takes a long cut in the orchestra introduction. There never was a really adept use of pianistic rubato in the entire performance. But the lack of lyricism in Chopin’s beguiling themes was the key defect of Berenika’s playing. An example of this of this could be found at measure 306, in the apex of the cadenza, where Chopin writes a descending right-hand detaché figure followed immediately by florid 16-note phrase, each tone worthy of attention and meaning. Berenika simply played through it without any thought to its majesty and expressive character. It was also difficult to hear her bass chords, even the final one in F Minor after the right hand trill.

The enchanting Larghetto, perhaps Chopin’s most sublime concerted movement, proceeded at a more relaxed pace, but here again the soloist tended to rush into each phrase, missing the tenderness that makes the movement a connoisseur's favorite, and even the subject of several solo transcriptions. Berenika played “on top” of the keys, never getting an opulent sound from the instrument. The finale (Allegro vivace) was the best of the night’s playing. The right-hand skips were nailed, and there was rhythmic interest in this rollicking Rondo. But it was still small-scale playing, pedaling covering clarity in scales, the whole sounding like an conservatory student in a rehearsal run-through.

Schumann’s large orchestral works clearly are close to Mr. Ferrandis’ heart. In the second half, he conducted the Op. 115 “Manfred” Overture in E-Flat Major, Op. 115, and the grand D Minor Symphony, the Fourth, Op. 120. Both benefited by the conductor’s sense of the “long line” needed to carry Schumann’s more somber symphonic pieces. So different from the joyous “Rhenish” Third Symphony, the D Minor only has joy in the concluding Langsam-Lebhaft, but under Ferrandis’ baton the music was riveting. Flutist Bonnie Lockett was a perfect match for her section mate Reynolds in the energetic opening movement. Acting principal cellist Robin Bonell opened the A Minor Romanze with a lovely solo, the Orchestra then playing to the solo violin passages of Concertmaster Joseph Edelberg.

In the final two movements Mr. Ferrandis essentially abandoned looking at the score in front of him, his identification with Schumann’s vitality was so thorough. He has a sweeping ability to balance sectional resonance and volume, difficult to do in both the Symphony and the shorter, convoluted Overture.

The final movement, in D Major, was characterized by fine trumpet playing from Doug Morton and Dan Norris, and equally effective trombone work of Amy Bowers, Kurt Patzner and David Kunkle. The nearly full house provided warm applause to the players, with the conductor surely relishing the radiance his artistry brought to two of Schumann’s dark but edifying works.