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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...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
SYMPHONY REVIEW
MasterCard Performance Series / Tuesday, March 11, 2014
Vienna Philharmonic Orchestra

Vienna Philharmonic Orchestra

BE EMBRACED, YOU MILLIONS

by Steve Osborn
Tuesday, March 11, 2014

Mere prose is inadequate to describe how good the Vienna Philharmonic was at Weill Hall on March 11, but perhaps a waltz title will do the job. How about "Seid umschlungen, Millionen" (Be embraced, you millions)? That was the Johann Strauss encore the orchestra played after their superlative guest conductor, Andris Nelsons, was repeatedly called back to the stage at concert's end.

"Be embraced" was the theme throughout the evening, from the opening bars of Haydn's 90th symphony, through Brahms' "Variations on a Theme by Haydn," into more Brahms--the Symphony No. 3--and culminating in the Strauss waltz, which was actually dedicated to Brahms. Instead of millions, there were only 1,400 patrons in the packed hall, but the millions--billions?--must include all the other patrons who have heard the Vienna Phil over its storied history, a history that continues to be shaped by conductors such as Nelsons and by legions of superb musicians.

The applause started even before the concert began, when a select portion of the Vienna Phil, including a few female violinists and cellists, strode onstage. Old chauvinist traditions die hard, but Vienna is making progress. They had barely settled in when Nelsons walked on as well, clad only in black, without the traditional jacket.

Holding a baton in his right hand, Nelsons grasped the rail at the back of the conductor's podium like a ballerina and then proceeded to mimic a ballerina throughout the evening. Nelsons is a conductor for whom no motion is out of bounds, whether pointing skyward like a celebrant or twirling like a top. His hands and feet are in constant movement, and his baton passes from right to left incessantly. At times, he launches forward into each section of the orchestra, hovering over them like a hawk. He seems to have a different conducting method for every musical passage he encounters.

The first such encounter was the opening Allegro of the Haydn, played impeccably and vivaciously. One often hears Haydn's late "London" symphonies, including the famous "Surprise," but the slightly earlier Parisian counterparts, including No. 90, are just as beguiling. The invention is delightful, the color abundant and the spirit uplifting.

The subsequent Andante settled into a blissful repose marked by a terrific flute solo that found Nelsons conducting with his fingers. For the ensuing Minuet, he stood on his left foot, the better to coax an astounding range of dynamics out of his bewitched subjects. The sprightly Finale wrapped it all up with strong accents, a complete unanimity of sound, and a furious pace leading to ultimate serenity.

More Haydn was in store for the next piece, first literally, and then as fodder for the fertile imagination of Brahms. The "Variations on a Theme by Haydn" was the breakthrough that allowed Brahms to compose his own four symphonies. You can almost hear him discovering his mature style as he mines the rich veins of the first symphonic master.

The opening theme, from Haydn's "Chorale St. Antoni," was stately and well controlled. Nelsons emulated the stately aspect through stricter use of his baton, but by the first variation, he was back to his old tricks, switching the baton from left to right and prancing upon the podium like a man possessed. The eight variations were as different from one another as a polyglot menagerie, ranging from the liquescent (No. 3), to the mysterious (No. 4), to the festive (No. 6). The sound throughout was incredibly rich and impeccably balanced. The brass never overwhelmed the strings, and the woodwinds shone through like sunbeams.

In the second half, given over to the Brahms Symphony No. 3, Nelsons assumed the role of an underwater swimmer, shaping the orchestra's aqueous sound through fluid motions unchallenged by gravity. The pace in the opening Allegro was luxurious, but underlain with a tense expectancy. The players repeatedly turned on a dime, unleashing explosive energy and then floating as if on a cloud.

In the Andante, Nelsons put a finger on his ear as if checking for intonation, but everything seemed perfect. The players once again demonstrated that mastery is not just how loud an orchestra plays, but also how softly. The quiet passages were at the edge of hearing.

The famous cello theme that opens the third movement passed seamlessly around the orchestra, culminating in an evocative horn solo. In the Finale, the subdued opening gave way to a full release of the potential energy that had been gathering all evening. A flurry of down bows from the violins ushered in a thrilling, almost demonic, ride to the muted end, where Nelsons waved his hand in the air in a kind of sad farewell to a magical evening. He was a joy to watch, and his musicians a joy to hear.