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Symphony
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...
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 REVIEW
Santa Rosa Symphony / Monday, February 18, 2008
Bruno Ferrandis, conductor
Ingrid Fliter, piano

Ingrid Fliter

AN OCEAN OF SOUND

by Steve Osborn
Monday, February 18, 2008

The Santa Rosa Symphony concert on Feb. 18 featured gifted local players, an internationally recognized soloist, and a superb conductor; but the real star was the sea, as evoked in a memorable performance of Debussy's "La Mer." The other works on the program (by Dutilleux, Beethoven and Fauré) paled in comparison to this French impressionist masterpiece.

The evening began not with music but with an evident change in the string sections. With the exception of concertmaster Joseph Edelberg and the principal violists, all the first and second chairs were either new or shuffled upward from the ranks. The same held true for the rest of the strings: some familiar faces but lots of new ones. As shown in "The Freeway Philharmonic," KQED's recent documentary about freelance musicians, the personnel in the Santa Rosa Symphony and other regional orchestras is constantly shifting. What is remarkable is how well Maestro Bruno Ferrandis is able to hold the orchestra together, despite its protean tendencies. Who knows what he could accomplish if his musicians didn't keep changing from concert to concert?

Speaking of inconstancy, the opening work, Henri Dutilleux's Métaboles, from 1965, was all about change. The work offered five slowly metabolizing movements, each one demonstrating how a musical idea can develop through orchestration, dynamics, phrasing, and other tricks in the composer's bag. The names of the movements speak for themselves: Incantatory, Linear, Obsessional, Torpid, and Flamboyant.

"Incantatory" was just that, beginning with plucked strings and light percussion, then gradually adding winds and brass. As the texture thickened, the strings broke out their bows, moving from individual droplets to waves of connected notes. "Linear" began with a beautiful solo from the freelance principal cellist (her name didn't appear in the program) and proceeded linearly through the orchestra at a luxurious pace. Attention in the next two movements shifted to the brass, which played jazz-like riffs above a walking bass line. The sound was often reminiscent of Miles Davis and Gil Evans recordings from the 1950s. The "Flamboyant" finale began with a rapid ostinato figure in the violas that got passed around until nearly every section in the orchestra was playing its own riff. The inevitable crescendo and climax were impressive, if somewhat predictable.

After the full-throated and resonant sonorities of the Dutilleux, the reduced forces employed for Beethoven's Second Piano Concerto sounded somewhat muted. It took a while to get used to the sonorities of an orchestra dominated by strings, with only a few token woodwinds and no brass or percussion. The emptiness could have been filled by the piano soloist, Ingrid Fliter, but her attack was so pointed and sharp that the notes didn't have much chance to resonate. At times, she made the upper registers sound almost like a fortepiano.

Fliter is clearly an accomplished pianist who can play all the notes, but she tends to let go of phrases too early and let them fade into nothingness. The various sections of the opening movement didn't flow into each other, leaving the impression of discrete passages rather than a connected work. In the slow movement, her touch was too heavy, and the piano didn't resonate. Her playing improved in the final movement, however, which she danced through in true Rondo form.

The second half of the concert opened with a delightful rendition of Gabriel Fauré's "Masques et bergamasques," a suite that he assembled after the First World War by orchestrating some of his older works. The four sections--Overture, Minuet, Gavotte, and Pastorale--come across like piano miniatures, full of life and energy. Maestro Ferrandis was clearly in his element, using a light touch to blend the orchestra and make it dance. He is truly a joy to watch, with his sweeping gestures and intricate hand movements. Each one means something to the orchestra, which in this case translated his gyrations into music of ravishing simplicity and joy. If only Fauré had written more.

In contrast to Fauré's string of pearls, Debussy's "La Mer" is an intricate necklace, painstakingly assembled from a treasure chest of sonic jewels. Debussy's orchestration is second to none, and he employs all the forces at his disposal to create a dynamic portrait of the sea in all its moods and weathers. Harnessing all those forces and moving them forward is the conductor's job, one that Ferrandis never shirks from. He emphasized fluidity above all, coaxing the orchestra to swell and recede like waves in constant motion. He also brought out the narrative line that sustains the listener's interest throughout the work.

The first movement, with its evocation of dawn over the sea gradually brightening to noon, moved inexorably forward, building to a spine-tingling moment at the end, when an imagined sun bursts forth in all its glory. The second movement, "Play of the waves," was dominated by a shimmering pair of expertly played harps, but the third movement was all Ferrandis, one's eyes drawn again and again to his perpetually moving hands and fingers. At one moment, all the fingers on his left hand are splayed out; then the thumb and index join together to form a circle, all the while moving up and down. An instant later, he gives a cue with his index finger, then opens his palms as if to beseech the orchestra for more sound. Just as quickly, the fingers spring to his lips, quieting the tempest. And all the while, his right hand grips the baton, giving a steady and unwavering beat.

The effect was magical, impressive, unforgettable. Santa Rosa is really lucky to have a conductor of Ferrandis's caliber. His musicians may come from the "Freeway Philharmonic," but he's a master at directing traffic.