Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
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.