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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...
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...
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...
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...
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...
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
American Philharmonic Sonoma County / Sunday, February 05, 2012
Evan Craves, conductor;
Elena Ulyanova, piano

CRAVES DISPATCHES FLASHY PIECES IN EXCITING APSC CONCERT AT WELLS

by Terry McNeill
Sunday, February 05, 2012

Sonoma County’s insouciant American Philharmonic opened the first of its three spring concerts Feb. 5 with the Corsair Overture of Berlioz, and the work characterized the entire afternoon in the Wells Fargo Center – loud, flashy, trenchant and exciting.

Music Director candidate Evan Craves, formerly the APSC’s concertmaster, conducted largely without score, rare today and especially given the works at hand. It was even rare in the past, though Von Bulow conducted Tristan, Meistersinger and all the Beethoven Symphonies without music, as well and then playing the cycle of Beethoven Piano Sonatas. But now a conductor’s score is usually needed, and Mr. Craves looked at one only during the short Mahler work which appeared second on the program. The Berlioz was given quick a ride of just over nine minutes, the strings playing presto phrases and finally finding their unison footing well into the piece. The full brass section sounded triumphant. Here, and in the program’s final work, Miranda Kincaid’s bassoon playing was exemplary.

A sea change in sound occurred with the following Adagietto movement from Mahler’s Fifth Symphony. A signature piece for Santa Rosa Symphony conductor Corrick Brown in Wells, Mr. Craves’ languorous conception played off the beguiling notes from the harp with rich lower string playing, eliciting a broad vibrato and a shimmering sound. The hall was breathlessly quiet.

Rachmaninoff’s Rhapsody on a Theme of Paganini, Op. 34, concluded the first half with pianist Elena Ulyanova as soloist. The artist has been heard locally before in recitals for Concerts Grand and Robert Hayden’s Oakmont Concerts, and her playing in the lush set of 24 variations was similar to that of past appearances – highly dramatic and underscoring top treble notes and clearly articulating scale passages. Percussive sforzandos abound in Ms. Ulyanova’s conceptions, grabbing a listener’s attention but ultimately sounding affected. The pianist has a lovely pianissimo touch but at times at the quietest levels left-hand notes failed to sound. Perhaps the adage that one can’t play a real pianissimo in a large hall applies. The venerable 18th Variation in D Major (andante cantabile) was surprisingly played simply and with sparse ritards at the two climaxes. Ensemble with Mr. Craves was good.

To the applause of 800 Ms. Ulyanova added an encore, Scarlatti’s Sonata in B, K. 377, with driving momentum and a dry detache touch.

Kurt Erickson’s Toccata for Orchestra opened the second half, Mr. Craves holding the segmented piece together with thematic sections being traded off between strings, brass and winds. The Philharmonic made the best of the minimalist riffs, off-beat accents and entrances. Debra Ortega played the prominent piccolo part and the composer came to the stage to acknowledge the ovation.

A riot of scintillating orchestral sound came with the complete music from Falla’s 1919 ballet El Sombrero de Tres Picos, closing the program with much of the best playing of the afternoon. Again shunning a score, remarkable as the piece has manifold short sections, Mr. Craves drew an intoxicating blend of sonority from the APSC. Outstanding soloists included soprano Jody Benecke in two Flamenco-tinged arias, Nicholas Xenelis' limpid clarinet artistry, tympanist Gabe Sakakeeny, hornist Eric Anderson and Suzanne Eraldi's English horn. The music is crammed with startling effects, ranging from hand claps and raucous castanets to long Andalusian lines in the brass, and the suite sounded shorter than the 24 minutes of playing time, due to the conductor’s diligent control of his resonant musicians.

There was subtlety in the sonic commotion, typical of the entire afternoon’s performance.