Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, October 06, 2012
Bruno Ferrandis, conductor. Kronos Quartet

Conductor Bruno Ferrandis

SR SYMPHONY REVS UP SEASON WITH POWERFUL OPENER

by Steve Osborn
Saturday, October 06, 2012

For the Santa Rosa Symphony’s first-ever subscription concert in the Green Music Center Oct. 6, Bruno Ferrandis chose three works with the potential to show off the center’s vaunted acoustics. All three--Mozart’s overture to “The Magic Flute,” Mahler’s first symphony, and a world premiere by composer-in-residence Edmund Campion--feature brass and percussion, along with a dynamic range that starts below pianissimo and builds to triple forte.

By and large, the acoustics matched the promise. The Mahler in particular evolved into a tremendous sonic display, and the Mozart was not far behind. The exception was the new piece, “The Last Internal Combustion Engine,” in which the manifold orchestral exertions managed to drown out the amplified soloists, the cutting-edge Kronos String Quartet. Or at least that’s how it sounded from my seat in the Choral Circle behind the stage.

“Combustion,” as the piece may some day be known, combines electronic and acoustic instruments in an uneasy mixture that gives hints of the combustible without fully igniting. The first indication of the clash of old and new was on the stage itself, where a tangle of wires hung from the otherwise traditional semicircle of chairs for the soloists. Some of these wires connected to headphones that the first and second violinists donned upon entering the stage. Others presumably linked to a computer and keyboard manned by the orchestra’s pianist, Kymry Esainko, back in the percussion section.

The piece began with the quiet sound of wood blocks tapped in an insistent rhythm. After a brief electronic flurry, the strings got into the act, with the players hitting their strings with the backs of their bows, an ancient technique known as “col legno.” Other instruments gradually joined in, but the emphasis throughout was on forward-moving percussive sounds, with Mr. Ferrandis giving a strong cut-time beat: one and two and one and two. Given the title and the obvious sonic comparisons to an engine, the effect was of a car surging down a lonely highway late at night, its headlights illuminating an eerie landscape.

At some point the Kronos entered the fray, but they were hard to hear above the roaring engine, despite their amplification. They finally came to the fore in a quieter section, but by then they seemed like an afterthought. It was hard to know where they fit into the scheme. Were they parts of the engine or simply passengers?

The concluding moments were the most memorable, as the various sections of the orchestra stopped playing their instruments and began waving toy cars in the air. After a while, the only sound to be heard was the spinning of little wheels, propelled not by combustion but rather by hand.

Gustav Mahler was born too long ago (1860) to play with toy cars as a child, but his first symphony, also known as “The Titan,” contains many child-like melodies in its evocations of landscape and village life. The most obvious occur in the second movement, with its peasant dance, and the third, with its famous minor-key rendition of “Frere Jacques.” The symphony itself, however, grows far beyond the child-like, combining those melodies with far more adult ones to create one of the great masterpieces of the repertoire.

Playing “The Titan” is a daunting prospect, but Ferrandis and Co. were mostly up to the task. The hushed beginning with its seven octaves of A demonstrated that the Green can handle quietude as well as amplitude. The offstage trumpets were effective, and the long crescendo was well controlled. Mr. Ferrandis’ tempo, however, was a bit slow, and the many French horns (eight by my count) were sometimes uneven.

Similar problems plagued the second movement. The tempo was again too deliberate, and now it was the trumpets’ turn to sound ragged. But the cellos, who begin the movement with a lively dance step, sounded terrific. The ubiquitous wood in the hall really seems to resonate with the lower strings, a situation that will undoubtedly improve as the auditorium wood ages and hardens.

The third movement began with an excellent bass solo, followed by the various melodic snippets that evoke both the funereal and the playful. Uniting all these disparate strands is hard work, but the orchestra met the challenge and carried their success forward into the riveting final movement. The playing here was truly moving, particularly from the strings, who played with spot-on intonation and deep expressivity. As the movement roared towards its conclusion, the clarinets leaned back in their chairs, projecting their instruments skyward. The French horns soon followed suit, standing up to deliver the final triumphant melody, this time in perfect coordination. The sustained applause for both orchestra and conductor was well deserved.

The concert, which concluded with “The Titan,” began with another bit of magic, the overture to “The Magic Flute.” Here the horns rang out at the beginning with a full-bodied, tangible sound that set the stage for the rest of the concert. The string entry, by contrast, was delicate and well controlled. Mr. Ferrandis conducted the overture with restraint, his hands rarely venturing above shoulder height. As with the Mahler, the tempo was deliberate, but the unanimity of the playing compensated for the lack of speed.