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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, December 04, 2010
Bruno Ferrandis, conductor
Santa Rosa Symphony Honor Choir
Cyndia Sieden, soprano
Marcus DeLoach, baritone

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.