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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Sunday, May 06, 2012
Norman Gamboa, conductor. Brigitte Armenier, piano. James Warren, organ.

Brigitte Armenier Receiving Applause May 6 (Andreas Knuttel photo)

SONIC SPLENDOR IN FINAL APSC CONCERT AT WELLS

by Terry McNeill
Sunday, May 06, 2012

May 6 marked the American Philharmonic Sonoma County's final concert in the Wells Fargo Center, and with the Santa Rosa Symphony leaving Wells after mid-May, orchestra events may soon be a dim memory in the venerable hall.

An audience of 950 sat through the usual bevy of announcements and raffle prizes, along with candidate conductor Norman Gamboa's slightly inane descriptions of what the concert's two compositions meant to him. But it was that kind of event, and the crowd was heavily sprinkled with young people, much to the delight of APSC's board.

But what of the music? Saint Saëns' monumental "Organ" Symphony occupied the second half of the program, with James Warren playing the minimal organ part. The opening Adagio began with a whisper, the string sections matching perfectly with richly hued solos from clarinetist Jeff Chan and flutist Emily eynolds. Though Mr. Gamboa gave little subtlety to the long Saint Saëns phrases, he sculpted the sensuous arching theme in the second movement deftly. And what a theme it is, reminiscent of the closing first movement melody in the same composer's C Minor Piano Concerto. The slow tempos favored by the conductor throughout the afternoon were here delicately precise.

The Allen organ, a massive electric instrument driving a line of speakers behind the brass section, sounded made for the hall, but its sparing use made one want to hear it more often. Mr. Warren, who apparently supplied the instrument, was a capable performer, but he sat by for long stretches without much to do.

The Allegro Moderato third movement was played with bounce but lacked clarity. Perhaps playing Presto sections without overlapping balances and phrase cutoffs is beyond the Philharmonic. In any event, the effect was scrappy. In the finale, the energy of the music carried the day, beginning with a wonderfully loud 32-foot organ stop and generating the requisite menace as the movement grew. There was outstanding playing by oboist Chris Krive and clarinetist Chan, both leading to an abbreviated fugue that began in the strings.

Mr. Gamboa was clearly in his element towards the end the symphony. The APSC created a tsunami of sound that drew the audience to its feet after the last chord. The conductor then recognized individual sections and players while enjoying the ovation.

Beethoven's E Flat Concerto, Op. 73, opened the program, with local pianist Brigitte Armenier playing the demanding solo part. Here again the conductor chose spacious tempos, which seemed to suit the pianist. Ms. Armenier lacks a big technique and a heroic approach to this most heroic of pieces; but what she brought to the work was a compelling intensity without extraneous details. She is an artist focused on the job at hand without sartorial puffery or platform theatrics. Her scale playing was lucid, and she offered brilliant right-hand trills.

The opening Allegro went smoothly with just a hint of problems to come in connecting the piano part with the orchestra. Several of the ascending runs began with the tuttis still ringing in the hall. Perhaps this was Ms. Armenier's choice, as she didn’t begin the runs with dampers raised to mimic the ambient sound, a method used in long-past "Emperor" performances.

The following B Major middle movement was gorgeous, with Nick Xenelis providing beguiling clarinet solos and Ms. Armenier's tone the most lustrous of the day, even in the top register. The effect was captivating. Moving directly into the Rondo finale, Mr. Gamboa had difficulty keeping the APSC in sync with the pianist, the latter gamely jumping ahead when possible. Technically Ms. Armenier was in good form, her right-hand skips on target. In a surprising deviation from contemporary practice, she doubled the left-hand B Flats at bars 229 and 237 to resounding effect.

To have a local and largely unsung pianist play this masterwork on an auspicious occasion with Mr. Gamboa's committed if wayward direction was a fitting end for the Wells Fargo chapter of APSC's 13 years of unconventional music making.

Next season the APSC will revisit the format of two-set programs, four in all, at the refurbished 900-seat Santa Rosa High School Auditorium. This hall was once the home of the Santa Rosa Symphony under Corrick Brown. What remains to be seen is if the APSC can transfer the palpable glamor of the "people's orchestra" into the small space on Mendocino Avenue.