Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
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 don’t measure to expectations. With the Sonoma County Philharmonic’s 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 Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s 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...
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.