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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
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.