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Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Saturday, November 17, 2012
Jovan Živkovíc, conductor. Stephen Waarts, violin

Jovan Zivkovic

NORTHERN LIGHTS SHINE BRIGHTLY

by Terry McNeill
Saturday, November 17, 2012

Programming an orchestra concert with Nordic music would seem to be simplicity itself: Grieg for romantic themes, Sibelius for instrumental virtuosity, Nielsen for a 20th-century harmonic component. The combination worked to perfection in the American Philharmonic Sonoma County’s Nov. 17 “Northern Lights” concert in Santa Rosa High School’s Performing Arts Auditorium.

Guest conductor Jovan Zivkovic kept a firm hand on the sonic proceedings, generating the same cogent and balanced sound heard when music director Norman Gamboa opened the season in October. Zivkovic used expansive tempos in the first piece, Grieg’s first suite from the Op. 46 incidental music to “Peer Gynt.” The “Morning” section featured richly hued clarinet playing from Ken Ward. The three soft and somber chords ending the “Death of Ase” segment were perfectly gauged, as was the pizzicato playing in the finale (the famous “Hall of the Mountain King”), beginning in the basses and joined by the horns and subsequently strings. It was not transparent playing, but there was good ensemble throughout.

The Sibelius Violin Concerto followed, with the APSC’s Young Artist Award winner Stephen Waarts as soloist. Long a staple in the standard repertoire, the concerto received a committed performance by Mr. Waarts. Occasionally he had trouble taking notes cleanly coming out of fast bass register passages, but his top notes were brilliantly played with sure-footed intonation. He was able to vary his vibrato as the music’s tempo changed, and the big trill in the first-movement cadenza grew with expression.

Mr. Zivkovic, a restrained conductor with precise but not extravagant stick movements, carefully controlled the shimmering slow movement. Mr. Waarts played the twice-repeated ascending passage soulfully, each time taking the repeat pianissimo. The concluding Allegro was full of scrappy orchestra playing, occasional intonation difficulties in the strings, and fast passage work for the soloist.

Perhaps due to the APSC getting used to the new hall, which this evening had an audience of 300, the soloist was often covered by the orchestra. They were simply too loud, notwithstanding the thematic projection from Mr. Waarts. Afterwards, the soloist offered an extended encore, Paganini’s C Minor Caprice, Op. 1, with copious multiple instrumental stops in difficult hand positions, and he played it adroitly.

Nielsen’s Fifth Symphony, a 30-minute work of grand contrasts and great emotional impact, closed the program. Nichikas Xenelis's suave clarinet and the horn section began the first of two movements over a viola ostinato, the martial character continually reminding one of early Shostakovich. However, Nielsen’s work came four years before Shostakovich’s Symphony No. 1. The menace and visceral nature of the music were kept in balance by the conductor. Percussionist Joe Lang was the persistent and obtrusive snare drummer throughout the first movement.

In the final Allegro, the music’s themes quietly and subtly appeared, leading to strong outbursts by the brass sections, and finally a surging fugal part beginning with the first violins, then violas and bassoonists Miranda Kincaid, Steve Peterson and Mary Ann Sacksteder. There were screeching bird call phrases from the winds, broken by bits of rhapsodic and even bucolic music. Emily Reynolds’ flute playing in the finale was outstanding and echoes of another contemporary of Nielsen, Bartok, appeared in the sonic mix. Good company.

The Nielsen symphony was the highlight of the concert, and it received an incisive and comprehensive interpretation under Mr. Zivkovic’s baton. For the next day’s performance, the audience reportedly doubled in size, nearly filling the hall. The word got around.