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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Green Music Center / Saturday, January 26, 2013
Yo Yo Ma

Weill Hall

FULL MOON, FULL HOUSE

by Steve Osborn
Saturday, January 26, 2013

Under a full moon on Saturday, Jan. 26, before playing what he confidently predicted would be the first encore of the evening, cellist Yo Yo Ma paused to tell the overflow crowd at Weill Hall that they had “an unbelievable music room.” His choice of words is apt, because the magnificent space at the Green Music Center in Rohnert Park has both the grandeur of a symphony hall and the intimacy of a living room, at least from a sonic perspective. From the back of the hall, every note that Ma played throughout his two-hour recital was crystal clear, from the softest pianissimo to the mightiest triple fortes. You could close your eyes and believe he was only a few feet away, despite several dozen intervening rows of seats.

Ma and his able accompanist Kathryn Stott capitalized on this intimacy by shaping each note and phrase for maximum effect. The master cellist never seemed to play the same note twice, approaching each one as a unique entity, worthy of its own attention. This approach was nowhere more evident than in his mesmerizing rendition of Olivier Messiaen’s “Praise to the Eternity of Jesus,” in which his sustained and assured vibrato coaxed each long note into being and then let it fade away. A hush fell over the audience, which had just returned from intermission, as Ma proceeded through Messiaen’s serene but driven masterpiece.

Like many other selections in the recital, “Praise” was taken somewhat out of context so it would fit into Ma’s creative programming. The piece is actually the fifth movement of Messiaen’s eight-movement “Quartet for the End of Time.” Likewise, Manuel de Falla’s “Seven Spanish Folksongs,” which closed the first half of the show, were originally written for soprano, and the majestic Brahms sonata that concluded the evening was originally written for violin. No matter. Ma took them all and made them sound like each composer had really intended them for the cello.

As Ma hinted at the end of the show, one reason for all the transcriptions was to give the audience a whirlwind tour of the geography of classical music, beginning with the Russian Igor Stravinsky’s “Italian Suite,” followed by three pieces from South America, the seven Spanish songs, the French “Praise,” and the Austro-German sonata. For good measure, the encores were English (Elgar) and American (Gershwin).

The “Italian Suite”--which is yet another transcription, this time by the composer--got things rolling in a hurry. This collection of lively Baroque-inspired tunes is a virtuosic challenge for cellists, and even Ma had some intonation problems in some of the faster runs at the upper end of the fingerboard. These blemishes were trivial, however, compared to the immense musicality that Ma brought to the suite. The opening phrase was distinctly shaped, with a pregnant pause near the middle. Highlighting Stravinsky’s jagged rhythms, Ma moved his instrument around freely, with an almost casual grasp. The cello’s neck was often far to his left, and the body of the instrument well outside the normal range.

Pianist Stott was likewise far from her instrument. She played with outstretched arms and sat low on the bench. The positions of both players seemed to give them greater freedom, and their performance was a marvel of sudden stops and turns. The thrilling speed and intricacy of the next-to-last movement, a tarantella, was so compelling that the audience burst into indecorous applause.

After the manic energy of the opening suite, Ma calmed the atmosphere with the three pieces from South America, by Villa-Lobos (“Alma Brasileira”), Piazzolla (“Oblivion”) and Guarnieri (“Dansa Negra”). Of these the Piazzolla was the standout, allowing Ma to generate room-filling sound from his lower strings. His cello really began to sing during the piece, which culminates with an unforgettable downward glissando.

Several of the de Falla songs were instantly recognizable Spanish folk tunes, with characteristic Flamenco rhythms and passionate melodies. Each shone in its own way, but the final one, “Polo,” offered a particularly wonderful opportunity for Ma to display his relentless drive. His energy seemed barely contained, almost on the verge of explosion, yet he somehow managed to channel all of it into his fingers and hands.

Intermission brought a chance to stroll into the courtyard and bask under the full moon, which sat above the concert hall as if granting benediction. The sight was a perfect appetizer for the heavenly Messiaen that began the second half. Following that transcendent performance was not easy, but Ma slid into the subsequent Brahms sonata as if into a pair of well-worn slippers. Despite the transcription from violin to cello, everything fit perfectly. The assurance was complete, the story compelling, the sound gorgeous. Toward the end of the last movement, Ma stood up briefly, as if to gather strength for the final plunge and the encores to follow.