Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 / Saturday, February 11, 2012
Bruno Ferrandis, conductor. Darby Hinshaw, horn

Hornist Darby Hinshaw

HORN OF PLENTY

by Steve Osborn
Saturday, February 11, 2012

After a lifetime of concert going, I have to confess that I’ve never witnessed a French horn concerto in the flesh, although I’ve heard plenty of recordings by Barry Tuckwell and other French horn virtuosi. My normal experience of French horns is to observe them sitting in the back of the orchestra, occasionally tooting away. It was thus something of a revelation to see French hornist Darby Hinshaw, an erstwhile member of the Santa Rosa Symphony, stride before that ensemble last Saturday night and station himself in the soloist’s perch for the Mozart Horn Concerto in E Flat, K. 417.

Mr. Hinshaw is a solidly built musician, and he wasted no time in demonstrating that he knows how to play his instrument. With his right hand firmly ensconced in the bell and his left manipulating the valves, he emitted a pure and ringing tone. He seemed to be playing with his right hand as much as his left, although the machinations of the former were hidden from view. On occasion he extracted his hand from the bell and twirled the horn to expel the accumulated spit, like a gunslinger showing off his revolvers.

As with all his other concertos for diverse instruments, Mozart’s writing for the French horn is particularly sympathetic, zeroing in on the instrument’s intrinsic capabilities and essential sound, which is by turns elegiac, heraldic and wistful. Mr. Hinshaw brought all these qualities to bear in the Andante second movement, where he played the main theme with great expressivity and pitch-perfect accuracy. The closing bars were especially evocative, suggesting the sound of a horn echoing across an Alpine valley.

The opening and closing movements were sprightly and filled with endearing melodies, although the lack of a cadenza in the first didn’t give Mr. Hinshaw much chance to display his gifts. The last movement, set in rapid 6/8 time, suggests nothing so much as a hunt, and here again the artist played flawlessly, although at times he seemed constrained. The applause at the end was vigorous and well deserved.

Hinshaw wasn’t actually the first soloist of the evening. That spot went to a computer-driven “synthesis engine” in the back of the auditorium that interacted with the orchestra in the opening piece, “Hold That Thought,” by Berkeley composer Edmund Campion, who was in attendance. The machine’s sonic contributions arrived via speakers above the orchestra, which consisted only of strings.

“Hold That Thought” is the kind of music you might hear in a planetarium while pretending you’re on a spaceship headed into a distant galaxy, preferably through a time warp. Clouds of sound envelop you, beginning with a high sustained pianissimo in the strings. All at once, the air conditioner kicks on--or is that the synthesizer? It was hard to tell at first, but then it became clear that the device was emitting sounds that echoed the strings, at least in the machine’s own digital conception of the world.

The misty atmosphere continued, with the orchestra essentially playing sustained chords, either loud or soft, and the synthesizer offering its two cents worth whenever occasion permitted. While the quality of the sound was sometimes of interest, the structure of the piece was not. There seemed to be no forward movement, no development--just clouds of sound. As suggested by the title, it was best to put thought on hold and just accept the experience for what it was.

In contrast to the opening piece, cascades of thoughts were on display in the second half of the program, devoted entirely to Tchaikovsky’s E Minor Fifth Symphony, Op. 64. This is a work filled with contrasts and clashes of musical ideas. From the somber tones of the clarinets at the beginning to the no-holds-barred climaxes at the end, the symphony seems to trace the course of a mind in ferment, often uncertain of how to proceed.

Tchaikovsky’s Fifth offers a compelling script, but it requires a convincing performance. While the Santa Rosans, under conductor Bruno Ferrandis, certainly played all the notes, they fluctuated between full engagement with the work and mere recitation. Certain passages were exquisite, such as the famous horn solo in the second movement (played here by Mr. Hinshaw) and the lilting waltz of the third, but others were routine. Dynamic contrasts were few, and tempos were often sluggish.

Fortunately, both conductor and musicians rallied in the final movement, investing energy and insight into Tchaikovsky’s score. The notes seemed to lift off the page, finally igniting the work with a previously flickering spark of life.