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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...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
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,"¯ 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.]