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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Sunday, April 01, 2012
John Kendall Bailey, conductor. Solenn Seguillon, violin

Violinist Solenn Segullion

SYMPHONIC CONNECTIONS EXPLORED IN APRIL 1 AMERICAN PHIL CONCERT

by Peter Jaret
Sunday, April 01, 2012

It's no easy task to open an orchestral concert with Brahms Symphony No. 1. The work begins as if in midstream, at an emotional pitch many symphonies take a movement or more to reach, and Brahms composed the introduction after the bulk of his symphony was written, which may explain why it sounds less like an introduction than an elaboration.

On April 1 at the Wells Fargo Center the American Philharmonic Sonoma County was in full command from the first bars of the urgently pulsing, emotionally-charged introduction which features a rising theme from the strings contrasted by a falling woodwind theme, set against the steady monotonic drumbeat of timpani. The exceptionally fine ensemble playing of the woodwind section was graced by oboist Chris Krive, who conveyed Brahms' lines with unusual sweetness. Violinist Linda Welter led a string section that has never sounded better, playing with great sensitivity and dynamic range.

At times during the first movement the timpani threatened to overpower the rest of the orchestra, particularly the relatively small string section. But the balance soon righted itself, and the orchestra captured the elaborate counterpoint, tricky polyrhythms, and quicksilver thematic changes of this monumental work with great authority. The horns, such an essential part of Brahms' orchestration, were strong and sonorous, both in their ensemble playing and in solo passages. The composer required the trombonists to sit out the first three movements. It was worth the wait when their clarion call sounded the Beethoven-inspired theme of the final movement.

Each of the orchestra's five concerts this season highlights a different conductor, all of them finalists for the position of music director to replace outgoing Gabriel Sakakeeny. For this fourth concert of the season John Kendall Bailey took the podium. At moments his conducting style looked distractingly like interpretative dance, responding to rather than leading the group. And there were passages during the Brahms when the complex crosscurrents of the piece became briefly muddled. But he also coaxed thrilling moments of beauty from the orchestra, especially during the third movement, with its joyous trio section featuring flute, oboe and bassoon. And while remarks by conductors are usually best kept to an absolute minimum, Bailey's prefatory descriptions of the pieces were helpful, especially to guide new listeners.

The second half opened with Ralph Vaughan Williams' resplendent The Lark Ascending, featuring violinist Solenn Seguillon in her second solo appearance with American Philharmonic. Sequillon held the audience rapt as she unfurled the lush, rising lines of the lark's theme with exquisite grace and power. Even in the highest register, her tone was warm and musical. There were moments when the audience seemed to be barely breathing, the hall was so quiet. The piece features intimate conversations between the solo violin and several instrumentalists, including French horn, oboe, bassoon, flute and clarinet. All of the players performed with sensitivity and agility.

The final work on the program, Strauss' Death and Transfiguration, neatly echoed what came before. Strauss' tone poem, which conveys the final hours of a man's life and the transfiguration of his soul, begins with a pulsing beat reminiscent of the opening of Brahms' first symphony. The lush rising melodic lines of the final section, depicting the transfiguration of his soul, call to mind Williams' ascending lark. The orchestra performed with deep feeling, dramatically contrasting the agitated and rhythmically complex passages that depict pain and fear with the tranquil sections conveying recollections of happier times. Death is signaled by a tam-tam, played with admirable restraint by percussionist Mary Gillespie-Greenberg, making the moment all the more moving.

The orchestra offered up its most impressive ensemble playing for the final moments of the piece, fully conveying the majestic sense of mystery that pervades Strauss' musical rendering of the progress of the soul.

After the poignantly hushed conclusion, there was a long moment of silence, followed by tumultuous and sustained applause.