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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, November 21, 2013
Semyon Bychkov, conductor. Till Fellner, piano

Conductor Semyon Bychkov

A DARK AND STORMY NIGHT

by Steve Osborn
Thursday, November 21, 2013

One way to get a free glass of wine is to buy a ticket to a San Francisco Symphony concert at the Green Music Center, wait for a dark and stormy night, then stroll into Weill Hall and behold a nearly empty stage, with only a solitary cellist tuning his instrument.

That's what happened on Thursday evening, Nov. 21, when the Symphony's buses were delayed on Highway 101 by a fallen tree and a massive traffic jam. Promptly at 8, a Symphony representative walked on stage and announced that the concert would be postponed until 8:30, at which point GMC Executive Director Larry Furukawa-Schlereth announced that everyone would get a free glass of wine. A mass exodus ensued.

The stormy night provided a fitting context for the eventual program, which did begin as promised. The first half offered the brooding Mozart Piano Concerto No. 24, one of his few concertos in a minor key (C minor), and perhaps his most introspective. Mozart's anguish then gave way in the second half to Richard Strauss's ebullient "An Alpine Symphony," a veritable avalanche of sound, complete with wind and thunder machines.

Austrian pianist Till Fellner played the role of Mozart, who premiered his C minor concerto in April 1786 to a presumably befuddled Viennese audience. Unlike almost all his other concertos, the C minor is neither happy, nor flashy, nor crowd-pleasing. It's also not so much a piano concerto as a sinfonia concertante for woodwinds, who are featured throughout the work.

Fellner is an exceedingly correct pianist. He sits ramrod-straight on the piano bench, with nary a wasted motion. When playing, his elbows are just slightly bent, but somehow his fingers act as spring-loaded triggers, striking the keys with the utmost precision and fortitude.

Gently urged forward by guest conductor Semyon Bychkov, a reduced band of Symphony players intoned the concerto's doleful introduction, which sounds like the beginning of a march to the scaffold. The tempo was luxuriant, the motion fluid, the texture polished. Upon entry, Fellner was a model of restraint, playing his line with the utmost precision and extolling the virtues of quietude. His only release came during the operatic cadenza, which he played to perfection.

The restraint continued into the second movement, where Fellner offered an almost staccato approach to the deceptively simple melody (one note, then two, then three ascending, then five descending) that recurs throughout the Rondo form. His touch was feather-light, his timing impeccable.

The tempo was again luxurious in the finale, a set of variations with occasional glimpses of a major key within an ultimately triumphant minor mode. Fellner's left hand was particularly strong in bringing out the grim rhythms and moods that dominate the work. At the end, the applause from the nearly full house was subdued, without the customary ovation--but then it's hard to imagine anyone jumping up and cheering after such a somber work.

The ovation came at the end of the program, after an impassioned reading of Richard Strauss's "Alpine Symphony," the last in his long series of tone poems. The term "symphony" is actually a misnomer in this case because the work is just one long movement with 22 separate episodes, with little of the thematic development that one encounters in a typical symphony. Instead, it's all about painting pictures with sound.

Strauss works on a massive canvas with an inordinate number of brushes and colors. His score calls for about 130 players on a stupefying array of instruments, including not only the aforementioned wind and thunder machines, but also a heckelphone (bass oboe), four Wagner horns, innumerable percussion instruments, an organ, two harps and an offstage brass ensemble.

Keeping this menagerie under control is more than a challenge, but Bychkov seemed utterly unperturbed. He kept his feet firmly planted on the podium, compelling the orchestra to do his bidding through graceful movements of his baton and occasional shakes of his curly hair. The low, slow beginning ("Night") seemed almost frozen, with the violins barely moving their bows. In time, this gave way to a massive crescendo ("Sunrise") that threatened to break the windows.

And so it went throughout the misnamed symphony. Each of the 22 episodes came into being, offered its specific sonic image ("At the Waterfall," "On Flowering Meadows," "On the Glacier"), then either faded out or butted heads with the next. Within the episodes, the sound was often shimmering, iridescent and luminous, the spectacular result of Strauss's finely crafted orchestration.

Inevitably, the climax came toward the end, with a thoroughly convincing "Thunderstorm and Tempest." Everyone on stage played at top volume, and the percussionist manning the wind machine nearly tore his arm out of its socket while winding the contraption around and around. This prodigious display of force gradually morphed into a truly magical section beginning with the organ invoking the blessed silence of a church, followed by magisterial and gradually waning tones from the rest of the mighty ensemble. At the end, Bychkov held his hands aloft for a long moment before summoning the thunderous applause.