Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
SYMPHONY REVIEW

Violinist and Composer Mark Volkert

PANDORA A BOX OF SONIC DELIGHTS AT FIRST SF SYMPHONY CONCERT IN WEILL

by Terry McNeill
Thursday, December 6, 2012

In what must be the fall season’s last blockbuster Green Music Center concert, the San Francisco Symphony played a long awaited program Dec. 6 to an almost full Weill Hall audience.There was a palpable excitement when concertmaster Alexander Barantchik and then conductor Michael Tilson Thomas entered and happily acknowledged loud applause from the assembly and standing orchestra members.

The first half was extraordinary, a champagne orgy of orchestral sound that began with Strauss’ early Op. 28 tone poem Til Eulenspiegel’s Merry Pranks. String attacks and releases were impeccable and the violins and violas had a deep cohesive sound, playing off the wonderful horn parts. The trombones were brassy and sounded as one. Mr. Barantschik’s solo passages, including a delicious long descending scale midway in the boisterous composition, were virtuosic. William Bennett’s oboe playing was soulful and gracefully imitated a languorous human voice.

Mr. Thomas’ control of the interplay of instrumental sections, especially at low volume levels, was masterful.

Associate Concertmaster Mark Volkert stepped into the composer’s role before the halftime break as his orchestra played Pandora, an amazing twenty-three minute display piece for strings alone. The world premiere was the previous evening. Mr. Thomas provided introductory remarks for the work’s mythological origins and the Symphony launched into a mysterious introductory section of high violin sound. Solo passages were subsequently handed around, beginning with elegant playing by bassist Scott Pingel, cellist Peter Wyrick and ultimately an enchanting duo from Mr. Barantschik and stand partner Jeremy Constant. The conductor was able to balance the two lyrical sections and impetuous outbursts to telling effect. It was a brilliant antidote to the opulent harmonies of Strauss’ Til.

During this vehement but never violent piece the composer inserted intriguing effects, making a violin chirp like a flute and a horn part to resemble, albeit for a just moment, percussion sounds. Overall, there is an underlying menace to the writing and just a hint of Bartok’s pungent rhythms and Shostakovich’s sarcasm. The solo violin cadenza was deftly dispatched by Mr. Barantschik and another string duo, played by Mr. Wyrick and cellist Amos Yang, was beguiling.

Mr. Volkert is clearly a sovereign writer for strings and the performance was for me the evening’s highlight. Though long for a modern all-string composition, it merits joining the Orchestra’s repertoire.

Following intermission pianist Yefim Bronfman played Beethoven’s Fifth Concerto in E Flat, Op. 73. Known as the “Emperor” Concerto, the work abounds in mighty statements for soloist and orchestra and the music throughout commands a visceral potency. Mr. Bronfman gave a curious reading, patrician in concept but devoid of majesty or interest. His scales rippled and his fingers were faultless, but the phrasing was constantly square and heroics, inner voices and left-hand dynamic power were absent. It was irritatingly conventional, monochromatic and careful throughout.

The Orchestra played the concerto well in a low-voltage way, matching their sound to the soloist’s restrained interpretation. A standing ovation ensued.