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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, January 22, 2012
Jeffrey Kahane, conductor and piano.

Conductor/Pianist Jeffrey Kahane

KAHANE’S TRIUMPHAL RETURN TO SANTA ROSA

by Steve Osborn
Sunday, January 22, 2012

On a day when several uncontrollable elements--lousy weather, football playoffs, hospital construction--conspired against them, guest conductor/pianist Jeffrey Kahane and the Santa Rosa Symphony packed the Wells Fargo Center by excelling at the one element firmly under their control: great music making. Kahane in particular had a fantastic day, returning in triumph to the orchestra he led for a decade, playing his heart out for a Mozart concerto, and reconnecting with musicians who clearly enjoy working with him.

The concert began with the Mozart Piano Concerto No. 25, with Kahane conducting from the keyboard. The piano, sans lid, was centered between the violins and the lower strings, with the keyboard parallel to the front of the stage. From his position at the ivories, Kahane could make eye contact with every member of the reduced orchestra, which featured a small complement of strings, one flute, one timpanist, and pairs of oboes, bassoons, horns and trumpets.

Kahane stood to conduct the opening of the first movement without benefit of baton or score. He used both arms energetically and coaxed a crisp and flawless sound from the attentive players. Sitting at the piano when his turn came to play, he continued to conduct with his head and sometimes with whatever hand happened to be free. Even as he navigated the trickiest passages, he gazed steadily at the orchestra, communicating via arched eyebrows, stern visages and occasional smiles.

Kahane is a wonderfully expressive pianist who articulates each phrase with the utmost precision. His hands are a marvel to watch, seeming to be utterly relaxed while sprinting up and down the keys with nary a missed step. His playing during the cadenza, which he wrote himself, was particularly enchanting. Here he embellished upon the theme, mixing elaborate ornaments with some unexpected dissonances, ultimately sounding a bit like Beethoven as he drove to the conclusion.

Where the first movement was dazzling, the second was all expression, one of those ineffable Mozart Andantes that seems to float on a cloud. The melodic line here is paramount, and both orchestra and pianist played it to the hilt, each note fully sustained and leading into the next.

The last movement, an infectious Rondo, began at a brisk pace and never let up. Kahane traded solos with the flute and principal cellist and then led the orchestra in an extended romp to the finish line. The ovation was immediate, with many loud cheers mixed in.

During his tenure with the Santa Rosa Symphony, Kahane made a point of championing certain 20th-century composers, such as Leonard Bernstein and Michael Tippett, whose place in the classical repertoire is open to debate. Despite his frequently performed piano concertos, Sergei Rachmaninoff is still a member of that club, so the appearance of his third symphony after intermission was something of a rarity. When musicians refer to “Rach 3,” they mean the piano concerto, not the symphony.

There’s little danger that the symphonic “Rach 3” will displace the pianistic one, but the symphony does have its merits, albeit few. The first movement begins promisingly with a Russian-sounding theme from the clarinets, but it shortly morphs into a lushly orchestrated haze, with one melodic idea drifting into another, like a luxury liner lost in the fog. Any development or compelling narrative is hard to discern.

The second movement begins in much the same way, but the structure here is more clearly defined, especially when the opening Adagio is displaced by a spirited Allegro vivace. Kahane kept the orchestra moving along during this section, eliciting great playing from the strings and a remarkable solo from the English horn.

After a festive beginning, the third movement settles into a fugue that displays Rachmaninoff’s gifts for orchestration. Seemingly everyone gets involved in the increasingly manic action, which is regularly interrupted by languid interludes. The playing was excellent throughout, and the frenetic ending verged on the spine-tingling.

The audience applauded vigorously, so much so that Kahane launched the players into a rare orchestral encore, in this case Johann Strauss’s “Fledermaus” overture. The haze of the Rachmaninoff was quickly displaced by the crystalline clarity of the Waltz King’s exquisite melodies and toe-tapping rhythms. Both Kahane and the musicians outdid themselves with a finely honed rendition that included several perfectly executed ritards and accelerandos, along with some dazzling solos, notably the lightning quick piccolo figure at the end.

Santa Rosa was very lucky to have a conductor of Kahane’s stature in the not-so-distant past, and it can only be hoped that he’ll be able to guest conduct on a regular basis in future seasons. He still resides in Santa Rosa, and his fans are many.

[Reprinted by permission of San Francisco Classical Voice.]