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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...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Saturday, February 23, 2013

Norman Gamboa

RUSSIAN ROMANTIC WORKS HIGHLIGHT APSC CONCERT

by Terry McNeill
Saturday, February 23, 2013

Luxurious orchestration has always been a hallmark of Russian symphonic music, as was evident in the works of Liadov, Tchaikovsky and Shostakovich performed by the American Philharmonic Sonoma County (APSC) at the Santa Rosa High School Performing Arts Hall on Feb. 23.

Guest conductor Mark Wardlaw led a novel work to begin the concert, Liadov’s "Eight Russian Folk Songs," Op. 58. This well-balanced suite from 1906 showcased many sections of the orchestra, with bassoonist Steve Peterson and principal cellist Margaret Moores giving extended solos. Mr. Wardlaw carefully matched the string sections in the third folk song, "Plaintive," where the theme was successively handed from the cellos to the first violins and finally to the second violins and basses. The fifth song, "Legend of the Birds," was taken as a sad lament, with the strings playing an eerie shimmer at the end. The performance made these abbreviated and pithy songs sound greater than the sum of their parts.

Closing the first half was Tchaikovsky’s charming "Rococo Variations for Cello and Orchestra," Op. 33, with Ann Suda playing the solo part. Working with a reduced ensemble, Mr. Wardlaw helped craft a rich sonic tapestry for the cellist in this Mozartian work from 1877. The hall, at least from the lower orchestral seats, seems to favor low frequencies, and Ms. Suda’s instrument projected with substantial resonance. Early in the work her tone at the top had a dry edge, but it broadened throughout the rest of the seven variations. The delightful top-to-bottom slides on the fingerboard were impeccable, and in the cadenza Ms. Suda never hurried, letting the long pauses add suspense to the music. She clearly identified with the subtle and non-heroic interplay of cello and orchestra.

During the Tchaikovsky, Debra Scheuerman and Emily Reynolds played a scintillating flute duet, and hornist Randall Masselink performed chaste solo parts. In the fast finale with swirling, almost breakneck, interplay between cello and orchestra, Mr. Wardlaw kept the musicians from running off the rails, and the applause from 600 in the hall was long and loud.

Following intermission, Shostakovich’s effervescent E-Flat Major Ninth Symphony, Op. 70, completed the program. There was a time when a Shostakovich symphony would have been a tough challenge for the APSC because the orchestra lacked instrumental depth in the high strings and winds. That has changed.

Mr. Wardlaw introduced the Shostakovich symphony with a verbal description of the work’s genesis and the situation in the Soviet Union at the end of the "Great Patriotic War." All through the performance, the orchestra executed the familiar Shostakovich sonic landmarks: virtuoso wind playing, brilliant string sonics in the highest range, banal themes resolving into cogent and stirring marches, and always masterful orchestration. In the Moderato, the clarinet and oboe solos by Nicholas Xenelis and Chris Krive, respectively, were opulent. Described by the conductor as a horse race, the Presto movement was exciting and everywhere under control. Tom Hyde’s trumpet solo was beautiful, as was Ms. Reynolds's sparkling piccolo work.

Mr. Wardlaw highlighted Shostakovich's commanding sense of orchestral color and dynamics, and the performance brought the audience to its feet after the roaring finale. It was lighter than usual Shostakovich, but no less impressive. With this third concert in its new home, the APSC has developed a warm familiarity with the solid acoustics of the refurbished auditorium.