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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, October 06, 2013
Bruno Ferrandis, conductor. Tedi Papavrami, violin

Violinist Tedi Paparvrami

FOUR-SQUARE AND FORMIDABLE

by Steve Osborn
Sunday, October 06, 2013

Perhaps the four syllables of Dmitri Shostakovich's last name are what inspired him to write so many works in four movements, with a predilection for 4/4 time. Two of those works were on sonic display Oct. 6 at the Santa Rosa Symphony's opening concert set: his Symphony No. 5, with the customary four movements, and his violin concerto, with an unusual four instead of the standard three. The contents of these works are mostly four-square, both rhythmically and melodically, as exemplified by the four-note theme in the concerto that spells out the composer's abbreviated name.

What this abundance of fours does is to make for satisfying, crowd-pleasing music that runs the gamut of human emotions within a well-defined frame. The performance in this case was exceptional, with stupendous work from violin soloist Tedi Papavrami and inspired playing by the orchestra under Music Director Bruno Ferrandis.

Papavrami is an ideal candidate for the four-loving, quadraphilic Shostakovich. Clad entirely in black, with a dead-serious expression at all times, he resembles a boxer negotiating a four-square ring. His customary stance--knees bent, feet shoulder-width apart, hands up, ready to punch--is the essence of pugilism. Undeterred by the laws of physics governing human fingers, he delivers nothing but knockouts.

Playing a modern violin by the Lisbon-based Christian Bayon, Papavrami filled Weill Hall to overflowing with lush, liquid sound. The languorous opening movement of the concerto--a Nocturne--was a perfect foil for his gorgeous tone and lapidary technique. Every aspect of his playing was well controlled, from the vibrato to the double stops to the razor-sharp intonation in the upper registers. As the Nocturne progressed, the sound became shimmering and iridescent, hovering over the audience like a gentle rain.

Shattering the calm, Papavrami drove relentlessly into the Scherzo second movement, holding his own in a series of intimidating syncopations, and striking chords with machine-like precision. The orchestra kept pace, ending with a dramatic crescendo. The third frame--a Passacaglia--was both stately and majestic, punctuated by occasional blasts from the tuba. The pacing evoked a long march over a challenging landscape, and toward the end Papavrami's lower strings really began to resonate. This led to a long cadenza marked by complete silence in the hall as Papavrami coaxed more and more sound out of his instrument, featuring (what else?) four-note clusters followed by full chords and lightning runs.

Papavrami could have retired from the ring after the cadenza, but he went one more round with the final Burlesque, displaying incredible energy as he dashed off its many virtuosic passages. The ovation at the end was instantaneous and sustained, but sadly did not lead to a solo encore.

An encore of sorts did arrive in the second half, as the orchestra trotted out to play more Shostakovich, this time his popular Symphony No. 5. This modern masterpiece is definitely a Fifth Symphony, with a clear nod to Beethoven in the opening phrase. The strings had a particularly clean sound, with remarkable unanimity and a full, rich bass. The image of the march emerged once again in the opening movement, reinforced by the percussion, a gradual acceleration, and then a heroic unison that found Ferrandis jumping up and down on the podium. Turning on a dime, the orchestra ended tenderly, with a wonderful solo from concertmaster Joseph Edelberg.

The Allegretto second movement is one of Shostakovich's best-known works, and its dancing 3/4 rhythm stands in stark contrast to the rest of the symphony. Ferrandis responded well to the change in mood, evoking a lilting pace with restrained motions. The mood changed once again with the ensuing Largo, perhaps the most heartfelt music of the afternoon. The oboe solo over violin tremolo was outstanding, and the feeling projected throughout the movement was sublime, sustained all the way to the final resolving chord.

The exact opposite prevailed in the concluding Allegro. The trumpets blared out the rollicking theme, and then controlled mayhem ensued, with the orchestra regularly rising to triple forte. Timpanist Andrew Lewis was particularly fun to watch, as he held his mallets gleefully in the air, preparing for the next thundering descent. An authoritative boom from the bass drum brought the proceedings to a close.

Lest the reader think that the Santa Rosa Symphony plays only Shostakovich, the concert did begin with John Adams' iconic "Short Ride in a Fast Machine," now almost 30 years old. This too was four-square in its fashion, actually more four-geared, as the orchestra shifted rapidly from one layer of sound to the next. This thrilling piece, which helped bring Minimalism into the mainstream, sounds somewhat tame these days, prompting the elderly patron next to me to remark to her companion, "I actually sort of liked it."