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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
American Philharmonic Sonoma County / Saturday, November 16, 2013
Norman Gamboa, conductor. Alice Zhu, piano

Pianist Alice Zhu

POLISH, WITH POLISH

by Terry McNeill
Saturday, November 16, 2013

As with many orchestras, the American Philharmonic Sonoma County (APSC) produces programs with a theme, and the Nov. 16 concert in the Santa Rosa High School Performing Arts Auditorium had the title "Polish." But only Chopin's E Minor Piano Concerto was the genuine article, though the companion Third Tchaikovsky Symphony, Op. 29 ("Polish"), was the star of the show.

Alice Zhu was the soloist in the Concerto, the engagement related to her being awarded the Orchestra's young artist prize in 2012. The work, from 1829, is lyrical throughout, even more melodic than the better-known and architecturally tighter F Minor Concerto. There was no orchestraal cut in the long introduction. Conductor Norman Gamboa elicited a muscular reading, with Ms. Zhu matching their forceful presentation--a needed approach, as the hall's resident 72-year old piano has slipped below a professional level. The days of Perahia and Laredo performances on that piano are long gone.

The pianist had a fine grasp of Chopin's evanescent rubato and the vocal nature of the opening Allegro, but the instrument's monochromatic sound made the cadenza seem harsh. Conditions improved in the lyrical Romanza, with its melting opening passage for the violins, and Ms. Zhu deftly shaped the long line and subtle phrases. The duos between soloist and horns were charming, but the movement's last chords were abrupt rather than shimmering.

Mr. Gamboa chose a judicious tempo for the finale, the Concerto's most technically challenging in ensemble, and Ms. Zhu's adept scale playing could always be heard over the frequently loud orchestra.

After intermission and the traditional raffle prize announcements, the APSC played the 47-minute Tchaikovsky Symphony with affection and sporadic brilliance. The five-movement work from 1875 possesses much of the thematic development and powerful dramatic effects heard in the composer's more popular last three symphonies. Throughout the Symphony, the horns had a workout, especially in the mournful Andante Elegioco, and the playing of bassoonist Miranda Kincaid, oboist Chris Krive and flutists Debra Scheuerman and Emily Reynolds was outstanding. The APSC had developed a first-cabin wind section, deep-toned and precise.

Throughout the Symphony, the low strings tended to overpower the violin sound, especially in sonorous passages, but even in Tchaikovsky's extended use of pizzicato. This probably was a result of the auditorium's acoustics rather than an underpowered violin section, but the effect of robust cellos and the three bass viols was pungent. Mr. Gamboa led an exuberant Allegro con fuoco finale, underlining each fugal entry, and letting the brass sections generate a prodigious sound. Trombonists Jeff Barnard and Bill Welsh and trumpeters Karl Johnston and David Lindgren were everywhere sonorous and secure, as was solo timpanist Joseph Lang.

The APSC has developed a substantial command of weighty works under Mr. Gamboa's flexible baton, a likely indication that Tchaikovsky's great final symphonies will be on future programs, along with those of his peers.