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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...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High Schoolís stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
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.