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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
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.