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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 / Saturday, May 03, 2014
Bruno Ferrandis, conductor. Jon Kimura Parker, piano

Pianist Jon Kimura Parker

OUT OF MANY, ONE

by Steve Osborn
Saturday, May 03, 2014

The title of the Santa Rosa Symphony's May 3 concert at Weill Hall was "Spring Rhapsody," and the music contained therein was indeed rhapsodic, ranging from the youthful exuberance of Debussy, to the sparkling wit of Rachmaninoff, to the pagan energy of Stravinsky. But the real rhapsody was the Symphony's ability, along with conductor Bruno Ferrandis and piano soloist Jon Kimura Parker, to bring each of those pieces to vibrant life. The playing was inspired from beginning to end, with no glitches to break the spell.

Piano soloist Parker was the embodiment of inspired playing. Preparing to perform Rachmaninoff's "Rhapsody on a Theme of Paganini," he assumed a rock-solid posture on the piano bench, his feet firmly planted, his eyes glued to the keys, his hands poised for action. He rarely deviated from that pose throughout the performance, concentrating all his energy into his hands.

Those hands proved capable of almost anything, whether bouncing off the keys or exercising the utmost delicacy of touch. His attack was so prodigious that he never had trouble making himself heard. Every note was distinct, every phrase complete.

The Rhapsody consists of 24 variations on a familiar theme by Paganini. They range from classical variations on melodic elements to more distant versions that are only tangentially related to the theme. Parker accentuated the differences between the variations, making each one distinct while continuing to drive the piece forward. By the time he arrived at the famous 18th variation, he was in overdrive, building up the lush romantic theme from pianissimo to triple forte in a thrilling display of power.

Ferrandis and the Symphony matched Parker bar for bar, offering a perfect balance to his solo flights. When the Rhapsody was over, Parker flung his arms out to the sides and rushed up to the podium to embrace Ferrandis. The two had clearly connected, and the Symphony players responded warmly, along with the audience, which rose to its feet for a sustained ovation.

Earlier, the Symphony opened the concert with a strong reading of Debussy's "Printemps," a youthful work firmly rooted in Impressionism. The two-movement piece contains many of the composer's characteristic elements, including luscious melodies, atmospheric writing and graceful fluidity. Ferrandis brought all these out, at times resorting to agitated hand gestures to produce adequate vibrato from the strings.

The first movement featured a wonderful viola solo by Meg Titchener, and the second concluded with an unexpected sprightly dance theme, which emerged from the dense tapestry of sound like a ray of sunlight. It was a captivating ending to a rarely performed youthful gem.

The real gem of the evening, however, came after intermission: Stravinsky's "The Rite of Spring." This landmark piece, now 101 years old, fundamentally altered music, and it remains as thrilling as ever. Rarely has anyone employed the full orchestra to such telling effect. Each type of instrument, from the piccolo to the string bass, has its own distinct line, and the unending variety of their combinations fully engages the senses.

The first thing you notice about the Rite is the immensity of the orchestra. The woodwind, brass and percussion sections are doubled or tripled in size, so much so that they rival the number of string players. With this rebalancing, everyone gains equal importance, and the old notion of an orchestra being dominated by the first violins is thrown to the wind.

Ferrandis took a well-controlled approach to the Rite, stressing rhythmic exactitude above all else. The piece is notorious for its many syncopations and other rhythmic challenges, but Ferrandis was unfazed, beating the constantly changing time signatures with a steady hand and an unvarying internal metronome. His tempi were by turns brisk and restrained.

The playing throughout was exemplary, from Carla Wilson's haunting bassoon solo at the opening to the no-holds-barred full orchestra at the end. While the Rite is known for its boisterous passages and its propulsive rhythms, there are as many slow sections as fast ones. These calms between the storms featured some of the most expressive playing of the evening.

For sheer excitement, however, nothing could match the storms. The orchestra was particularly malleable when playing these, shifting in and out of them with dramatic flair. Perhaps the most vivid image of the evening was of one percussionist virtually hurling himself into the bass drum, which shook from the force of his blow.

The performance was an object lesson in what orchestras are all about: out of many, one. Each instrument had a distinct voice, and their interactions led to a unified whole. During the sustained ovation at the end, Ferrandis asked more than a dozen soloists and sections to stand before bidding the entire orchestra to rise.

Afterward, as the audience made its way out, one woman remarked to her companion, "How does somebody put all the notes together for something like that?" That's a difficult question to answer, but the results are nonetheless spectacular, as the Symphony made abundantly clear.