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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
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 ...
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.