Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Ukiah Symphony / Sunday, May 15, 2011
Ukiah Symphony Orchestra
Les Pfutzenreuter, conductor
Elena Casanova, piano

Conductor Les Pfutzenreuter Leads Applause for Pianist Elena Casanova May 15

ENERGETIC RUSSIAN WORKS END UKIAH SYMPHONY SEASON AT MENDOCINO COLLEGE

by Terry McNeill
Sunday, May 15, 2011

Balances in an orchestral concert, especially works from just one nation’s composers, are tough to graciously achieve. The Ukiah Symphony’s closing concert May 15 was heavily weighted with boisterous Russian works, and balances to some degree proved to be a concert-long problem.

Somehow a quiet piece slipped in to begin the event, Borodin’s tone poem “In The Steps of Central Asia,” and it was beautifully played. Principal flutist Becky Ayers and principal horn Ben Robinson had the lush opening themes and the tempos chosen by music director Les Pfutzenreuter were judicious. The brass had the requisite sonic punch, something they would need all afternoon.

Works by Khachaturian completed the first half, both muscular and pleasing to the audience of 350 in Mendocino College’s Center Theater. The ubiquitous Saber Dance in G Major (from the ballet “Gayane”) was first, the opening ostinato from timpanist Gabriel Sakakeeny telling and setting up whirlwind playing from the strings. It was mostly loud, raucous and though a pop favorite, heavily applauded. The equally potent Piano Concerto in D-Flat Major, Op. 38, continued the Orchestra’s penchant for sonic fireworks. Slow tempos were again selected and soloist Elena Casanova, playing from score, was in complete sympathy with Mr. Pfutzenreuter’s baton. Ms. Casanova’s octave technique, elfin scales and lyrical phrasing in the opening Allegro were effective, but often she was more seen than heard. The balance between the orchestra and the piano in this raw-boned work worked against the soloist, the horns and timpani often covering the piano line. The conductor sporadically tried to quiet things down, but it’s that kind of piece and the Symphony had mostly free reign. String sound throughout was very good save for raspy viola playing.

The lovely introduction to the Andante con anima was played by what I think was a bass clarinet, presumably in Erick Van Dyke’s capable hands, and the piano cadenza was characteristically insistent and artfully crafted. A novel instrument, an electronic wave length Theremin, had a negligible part and was played by Francis Rutherford.

The balances improved in the finale (Allegro) and the pianist’s right-hand skips and left-hand crossovers were always accurate. The jazz influence was underscored by the conductor and Ms. Casanova’s projection seemed to be getting stronger as the movement unfolded, her concentration riveting up to the final five dissonant chords. The Concerto is something one would hesitate to listen to every day, but a wild ovation indicated that the audience would perhaps have liked it again. There was no encore. Does the Ukiah Symphony encourage an encore from a soloist? The practice was essentially prohibited by orchestra management for decades, but now it is fairly common, and nearly always heard in Santa Rosa, Marin and Napa Valley Symphony concerts.

Mention needs to be made that the concert piano was positioned stage front at the beginning of the concert, thus saving setup time between the two Khachaturian pieces. Many orchestras still don’t do this and the Symphony stage manager is to be thanked for moving things along.

By far the best work Sunday occupied the entire second half, Stravinsky’s Suite from the ballet Firebird. As in many of the great Russian’s works (e. g., the Symphony of Psalms, the 1924 Piano Sonata) the bold rhythmic patterns are immediately established and in diverse ways carry through the five parts. Several parts melded together under the conductor’s direction, and here again the tempos were never rushed, the masterful orchestration always distinct. Stravinsky wasn’t a student of Rimsky for nothing. In the section “The Princesses’ Khorovod” there were fetching successive solos by oboist Beth Aiken, cellist Clovice Lewis, clarinetist Van Dyke and French horn player Mr. Robinson, over string tremolos. Mr. Pfutzenreuter was also able to coax some captivating pianissimos from his players.

The “Infernal Dance” part brought out some fine ensemble playing, albeit with the horns struggling to keep up. The fast parts found the conductor using a bevy of cues to keep all the sonic lines together. It was a convincing performance and surely a highlight of the season.

At intermission long-time Board member and section violinist Mary Carnevale was honored for her years of service (she is moving from Ukiah) and Mr. Pfutzenreuter made an impassioned speech for support of the arts program at Mendocino College, currently threatened by draconian budget cuts.