Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
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.