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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, December 06, 2012
Michael Tilson Thomas, conductor. Yefim Bronfman, piano

Violinist and Composer Mark Volkert

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

by Terry McNeill
Thursday, December 06, 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.