Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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.