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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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...
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.]