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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
Marin Symphony / Tuesday, April 13, 2010
Alasdair Neale, conductor
Edward Abrams, guest conductor
Christine Brewer, soprano

Soprano Christine Brewer in Marin

OUTSIDE THE ROMANTIC PALE

by Terry McNeill
Tuesday, April 13, 2010

In a finale to a year of literature-based programs (“Season of the Scribe’) the Marin Symphony April 13 presented a curious mix of compositions that purported to have a common romantic theme. Preceding the sonic splendor of Wagner’s Siegfried Idyll and the “Prelude and Liebestod” from Tristan und Isolde was an eclectic first half of works by Samuel Barber and contemporary composer David Carlson, both well outside the 19th-century romantic pale.

In the concert’s opening Second Essay for Orchestra of Barber, Music Director Alasdair Neale gave the baton to protégé Edward Abrams, and all went well with the 12-minute work from 1942. The strings were sonorous, with Mr. Abrams bringing balanced control to this concentrated piece. There was rich clarinet playing from principal Arthur Austin and a lovely trio with Mr. Austin, principal bassoonist Carla Wilson and oboist Margot Golding. The introspective nature of Barber’s popular piece, at least before the powerful climaxes and foreboding unison strings at the end, was artfully introduced by flutist Monica Daniel-Barker.

Prior to intermission the Symphony presented the world premiere of Carlson’s The Promise of Time, featuring soprano Christine Brewer. Based on dramatic lyrics by Susan Kinsolving, the three-movement work was part of a commissioning project by a Silicon Valley philanthropist that has benefited several Bay Area orchestras. Composed of three parts – “Blossoms Abundant,” “Velocity,” and “Hourglass” – the thick-textured work was not always cordial for Brewer’s powerful voice. The musical references seemed mostly to come from Richard Strauss’ “Four Last Songs,” an autumnal work from the post-World War II period just before Strauss’ death. In “Velocity,” Brewer sang with weighty projection, but the words, at least from the tenth row, were mostly unintelligible.

The more lyrical third movement, absent the vehement multiple crescendi of “Velocity,” and with themes rising from the depths of the orchestra, was telling. Mr. Neale, conducting from score, caught the nostalgic bent of the music, and it seemed a long-familiar work rather than something novel and demanding. The massive ending chords with cymbals and brass were thrilling. The composer and lyricist took bows with Mr. Neale and Ms. Brewer.

Following a long intermission, Mr. Neale conducted an assured Siegfried Idyll (1870) performance, offering brisk tempos without score or baton. The long clarinet solo from Mr. Austin joined with pungent playing from the oboes. It was elegant Wagner throughout, the conductor clearly relishing the long romantic lines after the histrionics of the concert’s first half.

The “Idyll,” one of Wagner’s few non-operatic works, led smoothly into Isolde’s panegyric to warmly receptive death. Ms. Brewer returned to stage center to pit her formidable voice against the large orchestra. She had all well in hand, with only the low range being covered by the orchestra, and her top notes resounded to the last row of seats. The Symphony’s five-member horn section, led by Alex Camphouse, gave potent support. It was exalted music making of a score that will never seem routine. Mr. Neale crafted the extended operatic phrases with care and visual attention to Brewer’s singing.

Oddly the great Wagner ode didn’t have an ecstatic effect on the nearly full house. There were the standard flowers for the soloist, but not a universal standing ovation or many recalls. The performance deserved more.