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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
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, October 09, 2010
Bruno Ferrandis, conductor
Dmitri Berlinsky, violin

Violinist Dmitri Berlinsky

OVERTURE WITHOUT OPERA

by Steve Osborn
Saturday, October 09, 2010

For the opening set of the Santa Rosa Symphony’s 2010-11 season, Music Director Bruno Ferrandis chose four Italian works, perhaps in acknowledgement of that culture’s immense influence on musical history.

The concert began promisingly with a fine rendition of Verdi’s overture to the opera “La Forza del Destino.” The Symphony, augmented by about a dozen players from the Youth Orchestra, played with conviction and solidity. Ferrandis sustained the rhythmic drive throughout, and the brass offered strong statements of the opera’s themes, punctuated by emotional outbursts from the strings. Melody was everywhere.

Sadly, those melodies were soon replaced by the insipid tunes of Paganini’s first violin concerto, a bravura showpiece that includes just about every trick a virtuoso can muster other than musical interest. The piece is all about technique, with little regard for what the notes are actually conveying. Soloist Dmitri Berlinksy proved himself mostly up to the task, traversing the fingerboard with lightning speed and bouncing his bow with alacrity. There were glissandos aplenty, along with slithering double stops and deftly placed harmonics. Setting himself squarely between the first and second violins in full sight of the conductor, Berlinksy swayed convincingly to the orchestra’s steady beat.

The difficulty of the part produced some inevitable intonation problems, particularly during the multi-octave leaps and the incessant double stops. More problematic was how the barrage of notes tended to muffle the violin’s sound. Mr. Berlinksy produced a beautiful tone when given the chance, but it was hard for his violin to resonate under Paganini’s obliterating sauce of sixteenth notes. I found myself longing for Paganini’s countryman Vivaldi, who wrote plenty of violin concertos in his quintessential Italian style. They may not be as virtuosic as Paganini’s, but they offer a lot more musical meat. I seemed to be in the minority, however, for the end of the piece brought a sustained standing ovation from the less than full house.

During intermission, the audience strolled through the Wells Fargo Center’s recently renovated lobby. Gone are the hideous chandelier and worn carpet, replaced by track lighting, gray walls, new carpeting and open railings. The resulting space seems far more open than its predecessor, and certainly more refined.

Back inside the auditorium, Mr. Ferrandis alluded to carpets while introducing the next work, Luciano Berio’s “Rendering” of Schubert’s sketches for a 10th symphony. Berio, according to Mr. Ferrandis, had taken the “moth-eaten red carpet” of Schubert’s sketches and filled the holes with a “blue thread” consisting of Berio’s reworking of other Schubert melodies. These transitional passages are always heralded by the celesta, an instrument not yet invented in Schubert’s day.

The first movement definitely sounded like Schubert, with a lilting Schubertian melody and unmistakable Schubertian orchestration, bound together by the composer’s characteristic alternation between major and minor. Berio’s transitional passages, when they arrived, seemed to place the audience inside Schubert’s head as he perused his other works while puzzling out how to fill the space.

The second movement opened with an ethereal duet for oboe and bassoon, and the proceedings showed off Mr. Ferrandis at his most elegant, as he sculpted the majestic if incomplete theme. By the third movement, however, the music had drifted far from typical Schubert. Perhaps the composer was turning in a new direction during his last days, but the fugues and contrapuntal methods seemed out of place, as did Berio’s increasingly disconnected transitions.

All in all, “Rendering” offered some beautiful music, but the Italian theme might have been better served by a pure Berio piece, of which there are many.

The concert closed with a well-played rendition of Respighi’s “The Fountains of Rome.” Composed in 1916, this piece, like its more famous companion “The Pines of Rome,” is pure program music, focused almost entirely on trying to convey a picture through sound. The water motif is the strongest, with repeated suggestions of fountain jets, rushing water and waves. Birds, usually represented by tremolos, also populate the sonic space, as do the wind and occasional horn calls from water deities.

Under Mr. Ferrandis, the Symphony offered credible renditions of the sonic images. The flutes sounded like birds, the strings like water, the horns like the god Triton. Unfortunately, the music itself doesn’t really go anywhere, so it ends up being a series of tableaux rather than a compelling narrative.

Perhaps that lack of narrative is what made the concert feel flat. Other than the Verdi, none of the pieces offered much in the way of musical drama. We got to hear the overture, but not the opera.