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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
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 REVIEW
Santa Rosa Symphony / Saturday, February 09, 2013
Bruno Ferrandis, conductor; Roy Zajac, clarinet

Clarinetist Roy Zajac

PLAYING HEARTS: IT'S ZAJAC IN SPADES

by Steve Osborn
Saturday, February 09, 2013

At symphony concerts, soloists need to be both sonically and visually distinctive. For the latter requirement, what better way to sail above a sea of black-jacketed players than to don a jaunty white blazer with black lapels and a black bowtie? That was the approach soloist Roy Zajac took in a memorable Feb. 9 performance of the Mozart Clarinet Concerto with the Santa Rosa Symphony.

By wearing his trademark "Za-jacket,"ť Zajac established his distinction before even playing a note. When the notes did arrive, however, the jacket was as nothing compared to the sonic beauty emerging from the bell of his clarinet. His tone was both liquid and luxurious, each note a perfectly rounded sphere on a string of pearls. His low register was particularly mellow, with occasional deep runs bathing the audience in waves of sound.

Zajac, who normally serves as the Symphony's principal clarinetist, combined the sonic and visual realms by swaying demurely as he played, each motion reflecting a musical phrase. With his feet planted shoulder width apart, he bent at the knees for low notes, swayed right for Mozart's inimitable phrases, and then left for the phrase's echo. You could reconstruct the entirety of the solo line just by watching his ever-changing posture.

And what a solo line it is! The Clarinet Concerto is one of Mozart's greatest compositions, each movement a masterpiece, and the whole even greater than the sum of its parts. In this performance, the opening Allegro was lilting and buoyant, and the closing Rondo up-tempo and joyous. But the most breathtaking movement was the middle Adagio, blessed as it is with some of Mozart's most beautiful melodies. Zajac played these to perfection, coaxing the softest of pianissimos from his instrument and lingering on each passing note. Not even a brief memory lapse could interrupt the flow of this exquisite performance.

Afterward the shy Zajac seemed almost embarrassed by the audience's rousing ovation, and he appeared truly startled when a Symphony staff member presented him with a giant bouquet of yellow roses. With Valentine's Day rapidly approaching, the gesture seemed particularly appropriate. Who couldn't avoid falling in love with a performance such as that?

The rest of the concert, resplendent though it was, stood in Zajac's shadow. The festivities began with the full orchestra, including harp and all manner of imposing percussion and brass, playing Anton Webern's "Passacaglia for Orchestra," Opus 1. As one might expect from an Opus 1, it contained everything but the kitchen sink. Unlike his later austere works, Webern in his youth seemed intent on emulating Mahler and other late Romantics by employing the full forces of the orchestra to create a dense, almost overwhelming, tapestry of sound.

The Passacaglia begins pizzicato and pianissimo, with various sections of the orchestra stating their lines and then fading away. This call-and-response builds up rapidly, however, and soon the entire ensemble is blazing away, only to fade once again and repeat the pattern. The result is a piece that lunges from climax to climax, with little room to breathe.

Despite Webern's youthful excess, Ferrandis and company played the Passacaglia with insight and respect. The various lines were well articulated, and the orchestra combined to make occasional gorgeous sounds. But the Passacaglia can't be more than what it is. No matter what, it's still Opus 1.

In contrast to Webern's Opus 1, Brahms' Third Symphony, Opus 90, is a work of confident maturity and assured artistry, a staple of the symphonic repertoire. It begins majestically and ends with surprising quiescence. In between is some of Brahms' greatest music, most notably the Poco Allegretto third movement, with its distinctive cello line.

The Symphony cellists, urged on by Ferrandis, opened that movement with just the right combination of rhythmic fluidity and silken texture. Their line, eventually picked up by the rest of the orchestra, is really just three notes rising and then three notes falling--simplicity itself. But in the hands of Brahms (and his performers), that six-note motif flowers into a movement of transcendent beauty.

Ferrandis conducted that movement and its predecessors with sweeping gestures that befit his tall frame. His approach changed dramatically in the spirited last movement, where he seemed to get more energy and precision from the players by standing almost still. The more compressed his gestures became, the more results he got. The playing throughout was exemplary, especially from the cellos, who rose as a section at the end of the performance to acknowledge the sustained applause.

[Reprinted by permission of San Francisco Classical Voice.]