DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Los Angeles Chamber Orchestra
FULL CIRCLE FOR KAHANE
by Steve Osborn
Saturday, April 27, 2013
Since the conclusion of his decade-long tenure with the Santa Rosa Symphony in 2006, conductor laureate Jeffrey Kahane has traveled widely, but he has often circled back to Sonoma County as a piano soloist. On Saturday evening, April 27, he upped the ante by not only bringing his prodigious keyboard talents back to the Green Music Center in Rohnert Park, but also his own ensemble, the Los Angeles Chamber Orchestra.
A chamber orchestra in name only, LACO generates a powerful sound, which proved more than adequate for filling every nook and cranny of the GMC's nearly full Weill Hall. The orchestra includes almost every instrument found in a full-blown symphony, but with fewer players on a part, particularly in the strings. There are, for example, only four cellos and four violas. The reduced sections bring the total players to around 40, about half the number found in larger orchestras.
The loss of volume from fewer players is more than made up for by LACO's dexterity, unanimity and all-around great sound. Every member of the ensemble is a potential soloist. Indeed, in the brand-new "Music in Circles III" by contemporary composer Andrew Norman, each one got a chance to be an actual soloist, however briefly.
That piece began the second half of the program, after an informative introduction from Kahane, an inveterate proselytizer for modern music. As he explained, LACO had premiered the piece just the week before and had already played it several times, including a performance to an auditorium filled with grade-school children, who had listened with rapt attention.
As Kahane observed, "Music in Circles" is really about the act of listening. It begins in dead silence. In turn, the various instruments in the orchestra make short, expressive sounds. A violinist, for example, plays harmonics, whereas a violist bounces his bow off a string. Throughout this spare introduction, Kahane held out his fingers to count off the solos.
Gradually (and predictably), all the instruments joined in, creating a dense sound that hovered around a tonal center without going anywhere in particular. Kahane's metronomic arm motions became a major focus of the piece, as he kept everyone together in the intricate but evanescent cloud of noise. A long decrescendo ensued, giving the piece the familiar soft-loud-soft structure that can be summarized with two sideways Vs: <>.
Whatever the merits of "Music in Circles," the performance was beguiling. With one possible exception, the musicians played their solos with aplomb, and the texture of the sound seemed to pull the audience in--perhaps not as completely as the grade schoolers, but close enough.
Earlier in the evening, the concert began at the other end of the musical timescale with a captivating, Kahane-less performance of Handel's Concerto Grosso, Op. 6, No. 11. Led by concertmistress Margaret Batjer, a scaled-down ensemble of about a dozen standing violin, viola and bass players--along with two seated cellists and a harpsichordist--zipped through the Baroque master's charming reworking of one his own organ concertos.
Batjer immediately established herself as a solid player with shimmering technique and authoritative bowing. Although her body movements were restrained, she brought the entire ensemble along with her: every eye within sight was glued to her bow. The five-movement concerto really caught fire in the concluding Allegro, propelled by a series of calls and responses from soloist to orchestra.
Afterward, Kahane and a lidless Steinway emerged from the wings to perform Mozart's beloved Piano Concerto No. 22. The orchestra--which now included a fuller complement of strings, winds and timpani--arranged itself around the piano. The keyboard faced the audience but was soon obscured by the seated Kahane, who rose to conduct whenever he wasn't playing.
The performance was everything one would expect from Kahane: fluid, virtuosic, lyrical, transcendent. The piano sound meshed well with the orchestra, floating above the stage rather than projecting outward. Kahane's own cadenza to the first movement was particularly memorable. Taking the liberty of a cadenza at face value, Kahane brought the timpanist into his improvisations, the drums offering a surprisingly effective restatement of the main theme.
As almost always in Mozart, the slow movement was the most endearing, nowhere more so here than in the various woodwind duets. The dark, almost tragic, mood stood in stark contrast to the outer movements. In the concluding Rondo, it was hard to believe that Kahane could play so quickly. His trills were relentless and his fingers a blur, but the phrasing was nonetheless exquisite. The standing ovation at the end was well deserved.
Another well-deserved ovation arrived at the end of the program, after Ginastera's "Variaciones concertantes," a heartfelt set of variations on Argentine themes. Composed in 1953, the piece has worn well over the last 60 years, a testament to the solidity of its melodies and the rewards of its structure.
"Variaciones concertantes" consists of a series of 11 mini-concertos for various instruments in the orchestra, followed by a rousing finale. It opens with a soulful duet between harp and cello, which spends almost all its time in the upper registers. The soloists here and throughout the piece were superb, but the real standout was violist Victoria Miskolczy, who made the most of her "Variacion dramatica" by producing a full-bodied sound of searing intensity.
In the end, the concert offered further proof--as if any were needed--of Kahane's stature as both performer and conductor. One can only hope that not too much time will pass before he circles back again to his musical home.