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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
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...
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.