Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, February 16, 2014
Bruno Ferrandis, conductor. Philippe Bianconi, piano

Pianist Philippe Bianconi

VIKING INVASION

by Steve Osborn
Sunday, February 16, 2014

Weill Hall at Sonoma State University was fuller than usual for the Santa Rosa Symphony concert on Sunday afternoon, Feb. 16. One reason may have been the glorious weather, as evidenced by the sun streaming through the hall's clerestory windows. Another may have been the "Sons of the Fjord" program, which featured the enduringly popular Grieg piano concerto and the titanic Sibelius Symphony No. 2.

A third and more definitive reason appeared at the beginning of the show, when the announcer asked a visiting delegation from the Sons of Norway to stand, prompting several dozen people to rise, many of whom appeared to be daughters. As if that weren't enough audience padding, small groups of wind musicians began populating the encircling balconies, leaving only their string cousins and assorted percussion on stage.

The occasion for this musical diaspora was the American premiere of the opening piece, contemporary Norwegian composer Orjan Matre's "Resurgence for Orchestra." Like many modern works, "Resurgence" dwells on the spatial aspect of sound rather than its temporal elements. The piece begins quietly with the strings and percussion on stage, then migrates to a brass band hidden in the wings, and finally to the woodwinds in the balconies.

The effect of all this separation is waves of sound originating at different points and traveling by different paths before reaching the listener's ears. The sounds are resolutely tonal, with an emphasis on minor thirds and a steady beat. In essence, "Resurgence" boils down to a series of chords that differ both harmonically and spatially. The audience responded warmly, beckoning conductor Bruno Ferrandis back for a curtain call, a rare event for a concert opener from the 21st century.

The necessary stage reshuffling for the Grieg piano concerto was punctuated by the descent of sound-absorbing blinds across most of the clerestory windows. The blinds are a key element of Weill Hall's high-tech acoustics, which allow the space to be adjusted for each ensemble, from fully reflective to partially absorbed.

In the case of pianist Philippe Bianconi, the partial absorption made the individual notes more distinct, but not at the expense of a grippingly resonant sound. Under his fingers, the Grieg concerto's famous opening chords rang out, immediately drawing the audience into the hyper-Romantic, 19th century work. Bianconi sat ramrod-straight on the bench, but his arms, wrists and fingers were a model of flexibility and fluidity. He had a crisp, feathery touch, and he lifted his arms frequently in the air.

The performance by both orchestra and soloist was fully engaged, reaching a climax in the opening movement's dreamy cadenza, where Bianconi gracefully elicited the central theme from a thicket of sixteenth notes. The engagement continued in the serene second movement, marked by a beautiful French horn solo. Then came the lively third, where neither Bianconi nor the orchestra seemed daunted by the hurtling speed. In the end, the players generated a huge sound, leading to an immediate standing ovation.

After a sun-drenched intermission, the audience returned for a new century--the 20th--and for a work that continues to sound modern, the Sibelius Symphony No. 2. Sibelius has worn well over the past 100 years, perhaps because he doesn't succumb to predictable outcomes or obvious patterns. His orchestration is distinctive and his structures are continually surprising.

These aspects were on full display in the opening movement, with its assertive opening triplets and its continually building expectations, as figures were handed off from one section of the orchestra to the next. The tension increased along with the sonic density, as one motive bounced off the other, never resolving into a clear path. The resulting music was more like a train of thought than a reassuring narrative.

This introspective quality continued through the ensuing movements, each one displaying a different aspect of Sibelius's mind at work, from the "Tempo andante ma rubato" of the second, to the "Vivacissimo" of the third, to the rollicking Allegro of the conclusion. The playing throughout was exemplary, but inevitably a few moments stood out, including the opening pizzicatos in the second movement, the evocative bassoon solos, and the trumpet's occasional clarion calls.

Ferrandis did a great job of propelling the orchestra through Sibelius's unpredictable psychodrama. They were by turns somber and funereal, then furiously active, nowhere more so than in the agitated beginning of the third movement. Like Sibelius, the orchestra never said the same thing twice. Each moment was distinctive, leading to a shattering climax at the end, with the brass ringing out at top volume.

Reprinted by permission of San Francisco Classical Voice