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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.