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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

RIMSKY PROVES RISKY IN GUERNEVILLE

by Terry McNeill
Sunday, September 21, 2008

Seth Montfort’s Russian River Conservatory seems to have a lock on classical music premieres for the North Bay and Sonoma County, with nearly every concert in his Guerneville mortuary-turned–concert-hall bringing arcane repertoire to small but knowledgeable audiences. Concerts produced by Seth are adventures.

Rimsky-Korsakov’s Piano Concerto in C Sharp was the featured work on Sept. 21, with Montfort at the Conservatory piano and Gabriel Sakakeeny conducting the Mortuary Orchestra of Guerneville. Having a professional conductor (Sakakeeny is the director of the American Philharmonic Sonoma County) was an absolute necessity for this concert, as rehearsal time was limited, acoustics were problematic, and the music was probably new to all, including this reviewer, whose only experience with the concerto is the long-vanished Richter recording from the 1960s.

The concerto doesn’t quite fit into conventional orchestral repertoire. Composed in 1882, at the same time as the similar (but longer) Arensky Concerto in F, the Rimsky work is on a different planet than the ca.1875 blockbusters of the Russian canon, the Tchaikovsky B-Flat and the Rubinstein D Minor. Rimsky’s work never really makes an artistic whole. There is much Liszt present in thematic transformation, lots of octaves in the piano, and much alteration of tempo.

In this performance, there was, unfortunately, not much alteration of volume, nor was there any subtlety of phrasing or harmonic balancing. The reasons for this lack of success were manifold: the inadequate and dull piano, the absence of pianistic rubato, the dense textures from the small performance space, and a sense of incompatibility between the solo instrument and the 29-musician orchestra.

On the other hand, the aspects that went well were quite lovely, including the ardent clarinet solos by Jeff Chan; the uniformly good horn playing from Janis Lieberman and Paul Hadley; the long, repetitious but lovely solo cadenza with choice resurrections of the opening theme; and Sakakeeny’s rapt attention to the score.

This reviewer could not stay for the second half, a complete “Seasons” of Vivaldi. Alas, it was my loss, as phone calls the next day revealed that the performance had polish, charm and authenticity.