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Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, September 12, 2013
Michael Tilson Thomas, conductor. Yefim Bronfman, piano

Michael Tilson Thomas' Curtain Call in Weill Sept. 12

CHALLENGING WORKS FROM A POWERHOUSE ORCHESTRA

by Terry McNeill
Thursday, September 12, 2013

Launching the first fall season concert in Weill Hall, the San Francisco Symphony played a peculiarly challenging program Sept. 12 to an audience that was happy to encounter more than just the popular Tchaikovsky B Flat Piano Concerto.

"Challenging" was the operative word for the Third Prokofiev Symphony, a work from 1928 that has few current podium champions. One conductor who loves the work is Michael Tilson Thomas, and he drew an inspired and brilliant performance from his orchestra. This is a corrosive piece, not as easily assimilated as the composer’s First and Fifth Symphonies, and the audience of 1,100 seemed dazed at the initial clangor and dissonance of the opening Moderato. Mr. Thomas adopted a quick march-like tempo, and balances were critical, as the piece needs sonic space and careful baton control to convey the prevailing mood of unrest. Brass and tympani playing were terrific, and a lonely note from bassoonist Stephen Paulson ended the movement.

A bucolic Andante led into the third movement’s intricate string passages, the long first section sans winds or brass. The scintillating playing brought the music to a caricature of a high-level film score. There were virtuoso brass, flute and piccolo solos throughout.

Mr. Thomas drove the finale like a determined massive machine, plodding at first and really pretty grim until ending with heavy percussion blows and blaring but crystal-clear brass. The applause was strong but not overwhelming, perhaps more in admiration for the orchestra’s sonic achievement than appreciation of the complicated and demanding music.

Tchaikovsky’s Op. 23 Concerto, with Israeli-American pianist Yefim Bronfman, concluded the first half. As in Mr. Bronfman’s Beethoven concerto performance last season with the same orchestra, the playing was replete hallmarks of his artistry--secure scales, a strong left hand and octaves that never failed him in a concerto crammed with fast two-hand octave passages. But as in his first Weill Hall performance, Mr. Bronfman brought little that was individual in his interpretation, and his habit of half-pedaling descending runs hampered clarity. Solos from clarinetist Carey Bell and flutist Tim Say were splendid, as was beautiful oboe playing from acting Principal Jonathan Fischer

Though Mr. Bronfman had the requisite power for the Concerto, the acoustics in the wonderful Weill Hall favor a big orchestra, and one wonders if even the most orchestral of pianists--powerhouses like Horowitz, Hofmann and even Anton Rubinstein--could be clearly heard in fortissimo passages over Mr. Thomas’ resounding orchestra.

The concert opened with Canadian composer Zosha Di Castri's 12-minute exploration of eerie sound, Lineage (2013). Written for Miami’s New World Symphony and the San Francisco Symphony, the piece is a mournful and haunting set of recurring small themes, flitting about with sharp contrasting passages. Ms. Di Castri, in the audience and greeted by the conductor at the work’s conclusion, asks for a large orchestra to produce a ghostly tapestry of sound, and I counted five percussionists (with loud bells, chimes, and marimba), piano and celesta. It was daring music in its whirling and spooky way, a highlight of the evening, and received a glorious performance and a happily intrigued audience reaction. Lineage is a colorful candidate for entering the San Francisco Symphony’s repertoire.

Though the hall’s galleries were full, many orchestra-level seats were conspicuously empty at this concert, perhaps reflecting the husky ticket prices for prime seats.