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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
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.