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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
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 composer’s era, which presents a few ch...
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.