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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, March 23, 2014
Bruno Ferrandis, conductor. Santa Rosa Symphony Youth Orchestra. Paul Silverthorne, viola

A TOUR DE FORCE OF SONIC SPLENDOR

by Terry McNeill
Sunday, March 23, 2014

On paper the Santa Rosa Symphony's March 23 concert in Weill Hall looked promising and even provocative, with a world-premiere concerto, a famous solo violist and two flashy Russian orchestral works. But as often is the case, in unexpected ways the whole was not equal to the sum of the parts.

Behzad Ranjbaran's new viola concerto was written for the Symphony and the eminent British violist, Paul Silverthorne, and closed the concert's first half before 1,200 on yet another balmy Sonoma County Sunday afternoon. Silverthorne, surprisingly playing from score, displayed in the opening Adagio a warm lower register and, for expressive effect, lots of tiny slides into notes. Ranjbaran makes use of a large orchestra, with plentiful interplay of marimba, xylophone, celesta and harp. Flutist Kathleen Lane Reynolds played prominent mellifluous short notes and what sounded like chirps. As a composer, Ranjbaran is a master orchestrator and a canny exploiter of unique tone colors.

In the central Largo movement, the solo part had double stops and virtuoso phrasing in an often sad lament, but as in the first and last movements, Silverthorne could not effectively project above the orchestra's weighty sound. There were no pyrotechnics here, and conductor Bruno Ferrandis shaped the ensemble in music reminiscent of Prokofiev's Fifth Symphony. Muted trumpets and the marimbist Stan Muncy gave the music a somber air. The duo between Silverthorne and violinist Jay Zhong was lively, the two string lines ending the movement in a captivating hush.

Without pause, the concerto was off and running into an Allegro vivace, the playing angry at times and with short snippets of themes. Instead of a conventional symphonic long line, Ranjbaran juxtaposes short melodic statements in many guises. Silverthorne played his viola splendidly but was again outgunned against the orchestral fabric. At the end, Ranjbaran joined Silverthorne and Ferrandis on stage to loud applause.

To open the concert, members of the Santa Rosa Symphony Youth Orchestra paired with the Symphony in a scrappy and boisterous performance of a chestnut, Borodin's "Polovtsian Dances" from the opera "Prince Igor." There was expert playing by oboe, English horn and harp, and even a piquant sound from the tambourine. As good as dances were, the showpiece of the day was the closing work, Rimsky-Korsakov's "Scheherazade." Ferrandis, in complete control all afternoon, was at his consummate best in this glorious display of symphonic prowess.

Hardly looking at the score, Ferrandis guided a cacophonous but shapely performance that was a feast for the first-chair players in almost every section. If the Ranjbaran was a concerto for viola, the Rimsky was one for the orchestra. Mention must be made of the glamorous playing from clarinetist Roy Zajac, cellist Adelle-Akiko Kearns, oboist Laura Reynolds, flutists Stacey Pelinka and Ms. Reynolds, hornist Caitlyn Smith, trumpeters Doug Morton and Scott Macomber, timpanist Andrew Lewis, and percussionist Allen Biggs. Concertmaster Zhong's long solo passages, depicting the young Scheherazade, were played in an understated manner and traded power for lyricism, all to a good end.

Rising above this tour de force of sonic splendor was the dominating baton and vision of the conductor. After the final tutti, Ferrandis was liberal in acknowledging the sections and leaders, each getting a roar of audience approval.