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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
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.