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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, January 23, 2014
Alexander Barantschick, conductor and violin

Violinist Alexander Barantschick

IN THE PRIME OF YOUTH

by Steve Osborn
Thursday, January 23, 2014

Youth was the order of the day at the San Francisco Symphony's Jan. 23 concert in Weill Hall. Three of the four pieces on the program were written by teenaged composers--Mozart, Mendelssohn, Britten--and the fourth, by Piazzolla, included a youthful tango.

On the other hand, most of the musicians were middle-aged. There were only two dozen or so, a remarkably diminished version of an ensemble that had numbered well over 100 in its last appearance at Weill Hall, to play Richard Strauss's mammoth "Alpine Symphony." This time the orchestra was restricted to 14 violins, three violas, four cellos and two basses. Later they added a bandoneón player, a pianist and a drummer.

It was somewhat incongruous to see the drum set looming behind the orchestra in the opening work, Mozart's Divertimento in F major, K. 138, written when he was 16. Instead of the drums, the rhythm was supplied by the violas and cellos, who subsisted on a steady diet of eighth notes beneath the violins' soaring melodies. The putative conductor was Concertmaster Alexander Barantschik, but he did little more than lift his bow and occasionally nod at the cellos and basses from his first-chair position.

No conductor was needed in any event. The musicians played as one, with a remarkable unanimity of timbre, tempo and dynamics. The result was youth incarnate: Mozart shining forth in all the glory of his genius. Of the three movements, the second was the most memorable. Its beatific melody evoked Alpine clouds floating over Mozart's native Salzburg, their motion assisted by superb dynamics and evocative playing.

The milieu for the next piece shifted to the Mendelssohn family's sumptuous parlor in Berlin, where young Felix regularly trotted out new compositions for the assembled guests. This one was a violin concerto composed when he was 13, definitely not to be confused with his later masterful effort in the genre.

Standing up from his chair, Barantschik faced the audience, with the orchestra at his back. Playing from score, he never once turned around to conduct, relying once again on the musicians' collective unconscious. In comparison to the youthful Mozart, the youthful Mendelssohn is mostly superficial, given to glittering runs and crowd-pleasing cadenzas. The concerto, which had been forgotten for more than a century before being revived by Yehudi Menuhin, is pleasant but insubstantial.

Like the concerto, Barantschik's playing dwelled on the surface, without too much emotional investment. He has an almost flawless technique and uses minimal body motion, much like his fellow Russian predecessor Jascha Heifetz, one of whose violins he plays. The only oddity is that he grips his bow well up the stick, almost in Baroque position, avoiding his frog like the plague.

The lush sound of orchestra and soloist was remarkably consistent throughout the concerto, even during the slow second movement, which was disrupted by a medical emergency at the back of the hall. Undeterred, Barantschik played without pause, plunging into the gypsy-inspired final movement with alacrity. The long cadenza at the end was a perpetuum mobile that elicited loud applause.

Although Benjamin Britten completed his "Simple Symphony" when he was 20, the four movements are all based on pieces he wrote from the ages of 10 to 13. He is much closer to Mozart than Mendelssohn, opting for heartfelt simplicity rather than superficial complexity. The second movement, "Playful Pizzicato," is especially charming, from the resonant bass plucking to the sudden intrusion of folksong-like strumming. Again, the conductorless orchestra played with remarkable coherence, with everyone on the same dynamic and beat.

Youth succumbed to old age in the final piece(s), the "Melodia" and "Libertango" of Astor Piazzolla, adapted for string orchestra, solo violin and bandoneón by Jeremy Cohen, who also wrote a violin cadenza linking the two. Barantschik again took the solo role, joined by bandoneón player Seth Arsanow.

For those unfamiliar with the bandoneón, it resembles an accordion, with a bellows in the middle and keys on either end--but the bandoneón bellows are much longer than an accordion's and are draped across the player's knee like a massive snake. Their undulating movement becomes as much a part of the performance as the sound they produce.

Arsarnow played his instrument superbly, creating heart-breaking sounds that echoed throughout the hall. The opening "Melodia" was pure romance, a welter of emotions in a melancholy frame. After the transitional violin cadenza, Arsarnow started the concluding youthful tango by tapping the bandoneón with his right hand. The drums entered, and soon the entire orchestra was figuratively prancing across the stage to the tango's distinctive rhythm. The crowd loved it, leaping to their feet at the end.