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Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composerís era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results donít measure to expectations. With the Sonoma County Philharmonicís Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, January 11, 2014
Enrique Arturo Diemecke, conductor. Wu Man, pipa

Pipa Virtuoso Wu Man

PIPA PASSES, WITH FLYING COLORS

by Steve Osborn
Sunday, January 12, 2014

A typical symphony concert features a visiting soloist who plays a concerto by a well-known composer. For its Jan. 11-13 concert set at the Green Music Center, the Santa Rosa Symphony augmented that tradition by offering not only a visiting soloist, but also a visiting conductor, an exotic instrument and a concerto by a relatively unknown contemporary composer. The soloist was Wu Man, the conductor was Enrique Diemecke, the instrument was a Chinese pipa, and the concerto was by Zhao Jiping, a Chinese composer born in 1945 and mostly known for his film music, including "Raise the Red Lantern" and "Farewell My Concubine."

The pipa is one of many variants on the guitar or mandolin. It has four strings, like a mandolin, but it is held in the lap, like a guitar, except that it's held upright, like a double bass. Pipa players cradle their instruments like Renaissance madonnas, the child standing upright in their laps, wrapped in their warm embrace.

Wu Man was the picture of serenity as she seated herself in front of the orchestra in a knee-length green dress and settled the pipa into her arms. Before her stood the music on a stand, along with a microphone that discretely amplified her instrument. Behind her to her left, guest conductor Diemecke--maestro of the Bogota, Buenos Aires, Long Beach and Flint symphonies--summoned the orchestra to begin playing Zhao's concerto in its American premiere.

In two words, the concerto is movie music--but for a great, memorable epic. It has a clear, circular structure, with distinct sections, each evoking a particular narrative. The opening section, for example, is slow and serene, like floating down a lazy river. Wu played the stately theme with great expressivity, but instead of extending each note with a bow, as a violinist would, she let them ring out with rapid plucking from the fingers on her right hand.

Like the mandolin, the pipa depends on repetitive plucking to sustain notes, but the task falls to the fingers rather than to a pick. Wu's digits were a blur of motion as she bent each note to her will, creating a haunting sound that carried over the entire orchestra. The tonal quality was in marked contrast to the bowed cellos, who intoned the main theme.

The majestic opening gradually transitioned to a faster section, where Wu extended her virtuosity to her left hand, running up and down the fingerboard like an overcaffeinated rabbit. Despite its rapidity, the sound she produced was exquisite, every note clearly audible. She then engaged in a wonderful duet with principal cellist Adelle-Akiko Kearns.

And so it went as the concerto circled around to its opening theme, the pipa at the center of attention, the orchestra providing lush accompaniment, the audience entranced. The standing ovation at the end was immediate and sustained.

The other works on the program somewhat paled in comparison to the excitement of a premiere and an exotic instrument--but not by much. The opener was an early Mozart symphony (No. 15), and the closer was Beethoven's "Pastoral" Symphony (No. 6), the latter as programmatic in its way as the Zhao concerto.

The Mozart work, written when he was 15 or 16, is a model of clarity, each movement distinct and full of ideas. Diemecke established his presence before the opening, shaking the hands of the front row of strings and then gesturing to the audience with a dramatic sweep. Working without a baton or score, he elicited a precise and well-controlled sound from the orchestra, with his slightest gestures bringing big results. The ritards at the ends of phrases in the opening movement, for example, were both disciplined and evocative.

The somewhat reduced orchestra produced a balanced sound, with a particularly resonant bass. Only occasional ragged entries from the horns detracted from the effect. The playing throughout was luxurious, elegant and upbeat, especially in the final movement, which found Diemecke dancing on the podium and leaping off with the energy of someone several decades younger.

That youthful enthusiasm carried over into the Beethoven symphony, a work significantly longer than the Mozart but embodying much of the same spirit. Again without baton or score, Diemecke launched into the symphony with complete assurance, swaying from side to side and delivering precise cues for each new entry.

For listeners of a certain generation, the Pastoral Symphony is forever linked to Walt Disney's "Fantasia," which transmogrified Beethoven's original country idyll into Greek myth. Diemecke mostly shunned the mythic, settling for a more languid rural pace. At times his tempos seemed to drag, as he tried to milk Beethoven's stately themes to maximum effect. At other points, particularly during the peasant dance and thunderstorm sequences, he propelled the orchestra as fast as it could go.

The overall effect was magical, no matter what story unfolded in the audience's imagination. The playing from the orchestra was superb, notably in the many brass and woodwind solos, and both listeners and musicians seemed fully engaged. A hushed phrase near the end of the final movement captured the spirit of the performance. Diemecke held the orchestra back, creating palpable tension, and then released it for the final, life-affirming bars.