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...
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...
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...
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...
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...
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...
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,...
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...
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...
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...
Cypress String Quartet
ALONDRA DE LA PARRA: A SWAN FOR A SONG
by Steve Osborn
Sunday, November 06, 2011
At 31, Alondra de la Parra is a conductor of immense promise, destined to lead a major orchestra — but first she has to work her way up through the minor leagues. Fortunately for Napa County, she made a brief stop Sunday with the Napa Valley Symphony, and the results were gratifying.
The concert took place at the recently restored, 1950s-era Lincoln Theater in Yountville, home to the French Laundry and other avatars of gastronomic and oenophilic excess. The local industry is much in evidence in the theater lobby, which features three wine bars and only two auditorium doors. Inside, the grape motif continues, with fuchsia walls and purple seat cushions.
The implicit bacchanalia didn’t seem to affect the Mexican-American de la Parra, who was utterly sober throughout the concert and conducted with fastidious precision. Her movements and tempos are as well-regulated as an atomic clock, but that is only the foundation. What counts are the expressive gestures, usually made with her left hand, and the overall shape she brings to each piece.
De la Parra was most successful in the Brahms Symphony No. 1, which concluded the concert with a bang. From the opening insistent drumbeat, this was a performance driven by unrelenting rhythm and clear phrasing. Her tempos were not particularly fast, but she never let the orchestra get bogged down, no matter how thick the texture. She seemed to be calibrating the performance to the ability of the players, making sure that there were no mistakes and that each line was fully articulated.
The first movement set the tone, with de la Parra keeping steady time with the baton in her right hand, even as she swept elegantly with her left, bidding sections to swell, diminish, express, or whatever else five fingers and a well-oiled shoulder and elbow can communicate. She mostly conducted from the waist up, with her feet planted shoulder-width apart, her heels only occasionally coming together during moments of concentration.
Wonderful solos from the oboe and clarinet began the second movement, a surpassingly beautiful and serene Andante. Here de la Parra showed off her elegant, swanlike arm motions, and the orchestra responded in kind. Perhaps the Andante lingered too long, for the third movement, Allegretto, was too slow and lacked dynamic contrast. Any disappointment, however, quickly vanished in the opening bars of the last movement, with its expectant pizzicatos and dramatic buildup. The arrival of the famous theme in the violins induced de la Parra to fully extend her arms, lift her heels, and even jump. Here at last she pushed the orchestra to its limits, getting convincing playing from every section. The standing ovation at the end was well-deserved.
No ovations, standing or otherwise, greeted the pieces in the first half, which was restricted to the strings. The concert began with a lackluster performance of a slow-moving excerpt from "Bachianas Brasileiras No. 5" by Heitor Villa-Lobos. The piece was originally scored for eight cellos, and the transcription for string orchestra seems to have lost some heft. The performance was also hampered by somewhat less than unison playing in the violins. Perhaps more rehearsal would have brought the orchestra together.
Similar problems afflicted "Twilight at Mt. Veeder," a brief tribute to a local landmark, by orchestra bassist Robert Wright. Like the Villa-Lobos, it moved slowly, yet with better dynamics from the orchestra. Some of the lush tremolo effects sounded muddy in the 1,200-seat hall, which has fairly thin acoustics.
The orchestra and de la Parra didn’t really begin to click until a third party entered the stage, in the person of the Cypress String Quartet, offering a rare performance of Edward Elgar’s Introduction and Allegro for Strings, a one-movement concerto for string quartet and orchestra.
The Cypress is well-known to Bay Area audiences from its base at San Jose State University, and it’s always a pleasure to hear them play. It was somewhat disconcerting, however, to see its members wearing soloist-style tuxes and evening gowns and keeping their eyes on the conductor rather than each other. They settled right in nonetheless and quickly displayed why they’re such a successful string quartet. Their playing during the Elgar, during which they often alternate with the orchestra, seemed to inspire their fellow musicians, and the entire ensemble became much more unified.
The Elgar itself is well worth a listen, with a wonderful viola solo and an unexpected fugue. De la Parra coordinated all the individual lines with aplomb, allowing the quartet to shine forth or recede as need be. While not as energized as the Brahms to come, the performance was memorable.
The applause was sustained enough that the Cypress offered an encore, a vivacious rendition of the last movement of Dvořák’s “American” quartet. Here the players reverted to their usual conductorless format, communicating with each other via raised eyebrows and the like. They are fun to watch, but even better to hear.
[Reprinted with permission from San Francisco Classical Voice.]