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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 composerís 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 donít measure to expectations. With the Sonoma County Philharmonicís 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 Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís 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...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
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