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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
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 seasonís 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 Sebastopolís 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 Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí 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...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, January 28, 2008
Bruno Ferrandis, conducting
Joseph Edelberg, violin

Joseph Edelberg

OUR AVIAN ROOTS

by Steve Osborn
Monday, January 28, 2008

In pursuit of the dragon Fafner, the mythical hero Siegfried pauses to hear the forest murmur, tries to imitate a bird, gives up, gets hold of a fiddle instead, plays until the moon rises, then buckles himself to the dragon's tail for a wild ride through the firmament. That, more or less, was the synopsis for the Santa Rosa Symphony's Jan. 28 concert at the Wells Fargo Center.

Although the symphony played four diverse pieces from three different centuries, including the present one, the compositional similarities were more striking than the contrasts. Each piece evoked a sylvan landscape, often using that most primordial of musical phrases: bird call. The call is explicit in Wagner's "Forest Murmurs," which opened the program, and nearly as much in Mendelssohn's "Italian" symphony, which closed it two hours later. In between were some distinctly avian melodies in Bach's E major violin concerto and a veritable chorus of two- and three-note calls in George Tsontakis's magical "Clair de Lune."

The Tsontakis was the highlight of the evening. Premiered just last year by the St. Paul Chamber Orchestra, the piece consists of two movements: "Moonlit" and "Mischievous--Lullaby." As explained by Maestro Bruno Ferrandis in a brief but insightful introduction, the first movement, with its whole-tone scales and coloristic devices, evokes Debussy; whereas the second, full of joy and jubilation, evokes Messiaen. These pillars of French composition are only a point of reference, however, for Tsontakis has a voice that is distinctly his own: a "free spirit," in his friend Ferrandis's judgment.

The 20-minute piece begins with winds articulating two-note phrases, either ascending or descending, conjuring up a waking forest of birds. The strings then enter on an ascending whole-tone scale, creating a lush sonic landscape ripe for melody, which is eventually supplied in turn by an oboe and a solo violin. The texture throughout is alternately shimmering and dense, like the lunar lighting of the title. The effect was eerie and often mesmerizing.

The second movement was equally delightful, beginning with heavy syncopations and a rock-solid beat, thanks to Ferrandis, that evoked the driving rhythms of the Jazz Age. Short bursts of sound, repeated and varied, were combined like sonic strands of DNA, each new combination assuming a different form of musical life. Climaxes and cadences followed in rapid succession, finally building up to a truly swinging orchestra.

Ferrandis is to be commended for including new works on most of his programs. Based on what he's played so far this season, 21st-century classical music is alive and well; as is 19th-century music, in the person of Felix Mendelssohn. Still flush with the exhilaration of the Tsontakis, the orchestra plunged right into the Italian Symphony, with its familiar pair of opening thirds: dah-dee-dah, dah-dee-dah. Or is that opening birds? The early e-mail program Eudora used to announce new mail with an image of a rooster and an alert sound lifted straight from Mendelssohn. The connection with the earlier bird calls was unmistakable.

The subsequent development, however, was a world apart. Ferrandis is an almost ideal Mendelssohn conductor, with precise, well-engineered movements that bring out all the intricate qualities of the composer's lapidary scores. Every section is exactly in place; the beat is unvarying; the crescendos and decrescendos elegant and smooth. Whereas other conductors get overwhelmed by the mechanism and tradition, Ferrandis infused energy and life into a symphony played for perhaps the millionth time, with many million left to go.

Each movement was remarkable in its own way, from the clarion calls and the great unison strings in the first, to the elegiac march of the second and the superb horn duet in the third. It was amusing to watch Ferrandis's feet as he waltzed back and forth across the podium, his toes almost as expressive as his fingers. The climax, needless to say, came in the last movement, where Ferrandis really pushed the tempo, verging into prestissimo. Amazingly, everyone hung in there, particularly the strings, whose intonation was virtually flawless. A magnificent performance.

The efforts in the first half were less inspired, although the music itself was of considerable interest. The program began with the "Forest Murmurs" sequence from Wagner's opera Siegfried. Once again, bird calls dominated, with flutes, clarinets, and oboes assuming various avian personalities above a murmuring bed of strings. The horns, unfortunately, were somewhat out of tune, so the operatic picture never came into full focus. What was most incongruous, however, was the sight of Ferrandis conducting all of this from a miniature score the size of a paperback novel. Maybe it was the version for puppet opera.

The reduction in size continued with the Bach E major violin concerto. Many players left the stage, leaving just 24 strings, a harpsichord, and the soloist, concertmaster Joseph Edelberg. His performance, though full of insight, was often tense, perhaps because of his unfamiliar role in front of the orchestra rather than within it. Nonetheless, he shaped passages in the opening movement in unusual ways, bringing out notes and phrases that are normally hidden. He seemed to relax more in the unhurried second movement, as Ferrandis coaxed an ethereal sound out of the orchestra's reduced forces. Perhaps because the "Forest Murmurs" were still in the air, the movement seemed to continue the sylvan and avian themes. Finally, the sprightly third movement brought the first half to a satisfying conclusion, rounded out by warm applause.