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Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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...
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...
RECITAL REVIEW
Cinnabar Theater / Wednesday, September 8, 2010
Lara Downes, piano

Pianist Lara Downes

AMERICAN MUSIC FEATURED IN DOWNES' CINNABAR RECITAL

by Terry McNeill
Wednesday, September 8, 2010

Pianist Lara Downes is a proselytizer, a woman on a mission to spread the gospel of American classical music of the early 20th century. Ms. Downes brought her musical discourse to Petaluma’s Historical Museum Sept. 8 in the penultimate concert of Cinnabar Theater’s Summer Music Festival.

Beginning with the popular Barber Excursions, Op. 20, from 1944, the pianist quickly fashioned was to come in the evening’s additional works – large-screen computer generated photos mixed with piano solos and deft introductory remarks. The Walker Evans-style photos didn’t always relate to the music at hand, and tended to be on the screen too long. The rhythmic drive of the opening un poco allegro had the alluring boogie woogie snap, as did the following syncopations of the slow blues. The fourth work, a square dance, was Coplandesque and the repeated right hand notes were well played. These are not subtle pieces with much tonal coloring, and needed the clangorous sound Ms. Downes provided.

Turning to Copland himself, the “Four Piano Blues” followed. This is sophisticated jazz, totally American, and the improvisatory first piece was freely poetic and featured telling pedal points. Less compelling pianistically was a languid and wandering reading of the second piece, but with lovely shimmering effects. Ms. Downes’ sensuous repeated arpeggios barely covered the inherent dissonances of the third, and the jazziest of the set (“With Bounce,” 1926) was a declamatory short dance, and riveting.

Florence Price’s music, with that of Margaret Bonds, is occasionally heard at festivals, and it was good to find Price’s “Fantasie Negre” on the program. A student of Chadwick, Converse and Sowerby, Price wrote the neo-romantic work (a revision from a concerted piece?) that had the long line, with a beguiling second section in a “question and answer” mode and a diffuse sound, often over pedaled by the pianist. But it’s that kind of work, far removed from the harmonies of the composer’s contemporaries. Ms. Downes reveled in the sweep of the Fantasie with the sound filling every corner of the wood-surfaced museum.

Two more works remained, the American Nocturne by the jazz and Broadway composer Dana Suesse (1909 – 1987), the Gershwin’s big “Rhapsody in Blue” in the solo piano version. The first is cocktail party music, but at a high level, and the second is a panoramic compilation of the American master’s richly-hued jazz themes. I do miss the clarinet’s trill/glissando in the original version but the energy Ms. Downes brought to the work finally won me over. Pianistically the scales passes were even but muddy and the lack of sections of real repose and ritards combined with full-throttle forte and rapid tempo playing became overly sonorous. The approach worked best at the beginning of the big modulatory sections where orchestral playing is needed.

The Gershwin is familiar territory and the vigor the pianist pursued brought loud cheers from the audience of 40. One encore was offered, a short Copland piece in a dreamy style, the cantabile captivating. It was the only work the artist played from score.