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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...
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...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Sunday, October 09, 2011
Tristan Arnold, conductor. Kenneth Renshaw, violin

Violinist Kenneth Renshaw

BERLIOZ'S SYMPHONIE FANTASTIQUE HIGHLIGHTS SPOOKY APSC CONCERT AT WELLS FARGO CENTER

by Nicki Bell
Sunday, October 09, 2011

The American Philharmonic Sonoma County is off to a rousing start of their new season, and the Oct. 9 at the Wells Center concert was a crowd pleaser. The afternoon’s theme was “Dark Shadows of Twilight.”

The orchestra played with clarity, passion and precision and the hall was more than two thirds full. Under the baton of guest conductor Tristan Arnold, a finalist in the APSC’s search for their next musical director, the orchestra sounded tight and focused, spanning a wide range of dynamics and textural color. Mr. Arnold, a former member of the APSC as principal bassist, provided clear and expressive leadership and was an engaging speaker in remarks to the audience.

As a Prelude to Halloween, the afternoon’s music was alternatively spooky and programmatic, with a little gypsy added to the mix. Mussorgsky’s “A Night on Bare Mountain” opened, a swirling darkness musically circling, whipping an army of spirits. With rich orchestration, the power of trumpets, French horns and trombones sounded against the fury of violins. Church bells (from timpanist Anthony Blake) heralded a lyrical section of peace with a beautiful clarinet solo floating above the string choir. This sonic fabric was echoed by first flutist Debra Ortega, with the harp climbing to the peace of the heavens leaving the audience with celestial vistas.

The next work, “Funeral March for a Marionette” by Gounod, brought Alfred Hitchcock’s memory back to Sonoma County. Clarinetist Steve Bergman’s solo lead in initiating the familiar steps of the March. The sections of the orchestra played off against each other, crisp, clear and colorful.

“Tzigane, Rhapsodie de Concert” of Ravel was a treat. Young Artist Award winner Kenneth Renshaw gave a passionate, rhapsodic and thoroughly virtuosic performance as violin soloist. A long cadenza opens the piece, the orchestra then emerging evoking exotic sounds, sometimes supporting, sometimes making fun of the violin. Cellos, violins, winds, harp, and bells each took a turn dancing and splashing colors over an excited audience. A standing ovation ended the first half.

After intermission Berlioz’s iconic Symphonie Fantastique built on the orchestral energy of the first half. As an episode in the life of an artist, it was inspired by a production of Shakespeare’s Hamlet, and the symphony from 1830 tells a story. There are five movements (Passions, A Ball, Scenes in the Field, March to the Scaffold and Dreams of a Witches’ Sabbath). The whole performance was a sweeping adventure with telling solos from Marie Vizcaino (English horn), John Lounsbery (French horn), Tuba (Floyd Reinhart), flute, clarinet, trumpets and harp. The musical sections flowed seamlessly one into the other with lovely duets between English horn and oboes, violas and violins.

The theme from the first movement (Reverie) winds through the following four, a dark refrain carried with suspense throughout all the orchestra, a pulsing march to the end.

The “Dark Shadows of Twilight” seemed to bring a lot of sunshine to the faces of both audience and orchestra alike, and a fitting beginning to a season that features a guest conductor at each of the five concerts.