DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
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...
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...
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...
Soprano Cyndia Siedan
HOLIDAY MUSIC WITH A TWIST
by Steve Osborn
Saturday, December 04, 2010
Playing a requiem is a strange way to celebrate the holidays. At a time when people are looking for a bit of cheer, the Santa Rosa Symphony took the opposite approach for its Dec. 4 concert, offering not only the Fauré Requiem, but also the world premiere of Aubert Lemeland’s “Battle Pieces,” inspired by soldiers’ poems about death. Sandwiched between these two was the somewhat more festive Gloria by Francis Poulenc.
Regardless of the season, the Fauré Requiem was the highlight of the show. Using the full force of the Symphony’s 140-voice Honor Choir to telling effect, Music Director Bruno Ferrandis delivered a memorable performance. He achieved particularly good balance between the singers and the orchestra, and he was in full command of dynamics. The pianissimo passages were really, really quiet, and the fortissimos were correspondingly loud.
Mr. Ferrandis dedicated the performance of the Requiem to the composer Lemeland, who died just a few weeks ago. Perhaps that connection sparked the performance, which began with a dark and brooding entry from the choir. Mr. Ferrandis mouthed the words as they sang “Requiem aeternam dona eis Domine” (Grant them eternal rest, O Lord). He continued in this fashion throughout the piece, which he has carefully memorized and certainly mastered. The score calls for a solo soprano and baritone, along with an organ. Lacking a real pipe organ, Mr. Ferrandis made do with an electronic one, its speakers stacked incongruously behind the violins. The sound was a bit plinky on the high notes, but it was mostly adequate.
The soloists were adequate as well. Soprano Cyndia Sieden sang a beautiful “Pie Jesu,” but her voice was a bit angular and could have used some smoothing around the edges. Last-minute baritone substitute Hugh Davies had a more rounded tone and was effective in the lower part of his range. The upper part, however, was somewhat nasal and congested. The scheduled soloist, Marcus DeLoach, was sick and couldn’t perform.
Technical problems aside, the Faure solos were well sung and delicately balanced with the orchestra. The real vocal star, however, was the chorus. From their hushed entry in the “Introitus” to their angelic departure in the “In Paradisum,” they captured the spirit of the Requiem, one of the loveliest pieces in the repertoire.
In contrast, the Lemeland “Battle Pieces” that opened the show will probably never ascend into the repertoire. Lemeland was a prolific French composer, but he is hardly known in the United States, despite his obvious interest in America. “Battle Pieces” is based on five poems written by American soldiers during World War Two. Instead of being set to music, the poems are read one by one, each reading followed by a musical interpretation.
Compositions that use spoken rather than sung texts form a small subgenre in music, including such famous examples as Prokofiev’s “Peter and the Wolf” and Stravinsky’s “l’Histoire du Soldat.” The inherent danger is that the text will overwhelm the music, or vice versa. In this case, the text won by a landslide. The poems, read with conviction by former airman and actor Bernard Sugarman, were uniformly excellent, each one expressing the anguish and chagrin of soldiers headed into battle. The music, however, was undistinguished.
Lemeland scored the music for string orchestra and piano, with much emphasis on the cellos. Their lower reaches are often equated with grief, and Lemeland uses that trope repeatedly. Another standard device Lemeland employs is the quoting of hymns and folk tunes, in this case “The Battle Hymn of the Republic,” which makes an appearance in the opening section. The problem is that the music never rises above these devices. We already know from the poems that the music is supposed to be sad. It just never becomes anything else.
For some reason, several wind players were seated on stage during the “Battle Pieces,” even though they never played a note. They finally got their chance in the Poulenc Gloria, which features the composer’s usual sprightly writing for winds. The performance was a blessed relief from the dirge-like “Battle Pieces.” Once again, the choir shone, particularly in the “Laudamus Te” section and their a cappella entrance to “Qui Sedes.”
The Gloria is filled with unusual interpretations of a benumbingly standard text. Where legions of composers go one way in interpreting the words, Poulenc goes the other. The results are often memorable, nowhere more so than in the “Qui Sedes,” where the lush and exotic scoring gives the impression that the composer has found God while living it up on a tropical island.
If the performance of the Poulenc had a fault, it was with the lack of coherence. Poulenc introduces many musical ideas, and Mr. Ferrandis and company sometimes had trouble tying them all together. That particular ribbon and bow didn’t arrive until the Fauré.
In sum, the concert may not have been the most festive occasion, but it was mostly worth celebrating.