Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
SYMPHONY REVIEW
American Philharmonic, Sonoma County / Sunday, October 12, 2008
Gabriel Sakakeeny

Gabriel Sakakeeny

A DECADE AND COUNTING

by Terry McNeill
Wednesday, October 15, 2008

An old business axiom has it that “ten years means a career,” and with the American Philharmonic Sonoma County making that anniversary, the tenth’s season first concerts October 11 and 12 brought more than the usual anticipation. This orchestra, which began in Cotati, has overcome manifold hurdles to become a formidable musical force in the North Bay.

A season-launching concert should open with something special, and Stephen Main’s “Overture for a New America” had a decidedly populist, perhaps even political tone. One of three world premieres to be played by the American Philharmonic this season, the Overture recalls a bucolic Vaughan-Williams, Respighi’s “Pines of Rome” and film scores such as Howard Shore’s “Lord of the Rings.” In three sections, the lush score portrays heroic aspects of the American national character with splendid writing for the brass and several full-orchestra climaxes. A fugue caps the third section, albeit breaking off too quickly, with the returning martial character winning out. It’s a substantial work with rich tonal colors, and it was elegantly played by the orchestra. The audience, filling perhaps half of the Wells Fargo Center’s 1,500 seats, loved it, and Main was introduced by conductor Gabriel Sakakeeny to additional acclaim.

Grieg’s A Minor Piano Concerto completed the first half, capably played by Rohnert Park resident Lauren Xie in her second appearance with the American Philharmonic. An early Grieg work, from 1868, the dramatic and melodic concerto preceded the other popular piano concertos of the time (Rubinstein D Minor, Tchaikovsky B-Flat, Brahms’s D Minor and B-Flat, Henselt’s F Minor) and has never lost hold of a wide public. Its soaring themes and perfect integration of the solo instrument and orchestra are models of the genre. In the first movement Xie chose to underplay the massive choral parts, playing cleanly and never rushing tempos. Her performance was certainly lyrical but lacked heft and excitement. The big trill entering the coda was bright, and finally she mounted a real forte in the coda.

Her best playing came in the Adagio in D Flat, despite orchestra pitch problems in the introduction. Here Xie’s thoughtful and tender interpretation was winning, her touch deft and shading subtle. Xie tends to ignore some interesting bass lines heard in performances of other pianists, but the nostalgic music, and the lovely accompaniment from the orchestra, made the movement memorable. A highlight of the afternoon.

The finale, beginning in A Minor and ending in A Major, was held in strict control by Sakakeeny’s precise baton, and the playing of the timpanist (unidentified in the program) was excellent. Xie was again best in lyrical parts, where the treble sustain in the piano carried well, and less convincing in fast pedaled runs where her scales lacked clarity. A standing ovation and four sets of flowers for the soloist followed the volcanic ending. Prior to the second half, Sakakeeny presented Xie with the Orchestra’s Young Artist Award, an annual gift and tribute to young musicians in the North Bay area.

A youthful and still amazing First Symphony in F Minor (1925) from Shostakovich closed the concert. In four movements, it must rank with Mahler’s as one of the best “first” symphonies ever written, and it has all the characteristics of the mature composer’s additional 14 works in the genre: brilliant orchestration, acerbic wit, blatant but proper theme-borrowing, and immense emotional impact. It has everywhere the distinctive Shostakovich voice, mixed in with climaxes recalling countrymen Scriabin and Tchaikovsky.

Tom Hyde’s solo trumpet playing throughout was exemplary. The grotesquerie of the Scherzo and the introversion of the slow movement (Lento) were fluently performed, with Steve Bergman (clarinet) Chris Crive (oboe) and Miranda Kincaid (bassoon) as standout soloists. But this is a symphony of solo parts, at times with even a bit of Wagner in the long fourth-movement introduction, and in that pesky Scherzo, which I suspect this orchestra could not have effectively tackled five years ago. Sakakeeny seems to keep setting the bar higher, with more demanding works that require large forces and presumably much rehearsal time, and the preparation was palpable in a masterful interpretation. The prevailing feeling of sadness was finally relieved by the massive ending statement from the horns.

Perhaps this performance indicates that a Shostakovich symphony could be on at least one American Philharmonic program each year? The Fourth may be still be out of reach, but this wonderful orchestra, playing last year the Rite of Spring and the Poem of Ecstasy, could probably do it.