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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
SYMPHONY REVIEW
Santa Rosa Symphony / Thursday, May 22, 2014
Bruno Ferrandis, conductor. Jeffrey Kahane, piano

Jeffrey Kahane and Bruno Ferrandis

BENEFIT FOR CHILDREN, BOON FOR MUSIC LOVERS

by Steve Osborn
Thursday, May 22, 2014

For its postseason concert on May 22, the Santa Rosa Symphony--together with piano soloist Jeffrey Kahane and conductor Bruno Ferrandis--played for free. The money they would otherwise have earned will be used to benefit more than 20,000 children served by the Symphony's extensive outreach efforts, which include four youth orchestras, free concerts for elementary schoolchildren, and various school-based music activities. Over the years, these efforts have produced a steady stream of musicians and music lovers, a key factor in helping classical music thrive in the North Bay.

In a sign of the times, the concert began with a cell phone going off just as the orchestra was preparing to launch into Carl Maria von Weber's overture to his 1826 opera "Oberon." Everyone paused while the guilty party silenced the device, and then the orchestra began anew, this time with a French horn instead of a cell phone. Conducting without a score, Ferrandis ushered the musicians through a spirited performance marked by many sudden transitions and a well-controlled rhythmic flexibility. The brass and basses were particularly strong, taking advantage of Weill Hall's superb acoustics to project a resonant tone.

True to its form, the overture set the stage for the main event: two beloved piano concertos by Beethoven (No. 3) and Chopin (No. 2) performed by conductor laureate Kahane, who led the Symphony from 1995 to 2006. Equally at home as a conductor or a soloist, Kahane assumed the latter duties and left the conducting to Ferrandis. The two men seemed to read each other's minds throughout the concert, and they were never in conflict.

Opening with the Beethoven, Ferrandis set a brisk tempo in the long introduction, crafting a tremendous buildup to the piano's eventual entry. Kahane picked up where the orchestra left off, playing his opening phrases with authority and utmost precision. He is a wonderful pianist to watch. His body language, while never extravagant, telegraphs full immersion in the music. One of his characteristic poses is to lean back during expressive passages, stare into space, and let his fingers glide across the keys. For more intense passages, he leans in, bearing down on the notes and then leaping off at the end of phrases.

The opening movement is a classic example of motivic development, in which a short musical phrase is stated and restated in various guises. Kahane and Ferrandis brought out each statement astutely, highlighting the movement's structure and creating a powerful sense of forward motion. The balance throughout was excellent, with Kahane's quietest passages fully audible and never drowned out.

That quietude dominated the Largo second movement, which was as dulcet as the first was forceful. Kahane's playing was luxuriant, his feathery touch bringing forth a gentle river of sound. The notes flowed into each other, almost as if they hadn't been individually struck. The most dramatic passages were the quietest ones, perched just on the edge of evanescence.

In contrast, the finale was a boisterous Rondo that found Kahane hitting strong off-beat accents and sprinting through a cascade of runs. His energy was matched by the orchestra, which stayed with him beat for beat all the way to the rousing conclusion. The standing ovation from the nearly full house was immediate and sustained. "That was unbelievable," said my neighbor to his companion.

After intermission, that same neighbor advised his companion to "sit back and enjoy." He was referring to the Chopin Piano Concerto No. 2, a virtuosic showcase for the soloist, with the orchestra relegated to a minor role. Composed when Chopin was only 20, the concerto is filled with youthful enthusiasm and, in the second movement, heartfelt romantic longing.

Kahane proved indefatigable throughout. His light touch is one of his greatest strengths, and he had plenty of opportunity to play at the softest of dynamics, with the orchestra barely audible in the background. He was at his softest in the languid second movement, with its dominant trills and operatic contours. Chopin intended the movement as an expression of his love for a young singer, and the yearning is evident, with one gentle shower of notes after another. In Kahane's hands, the effect was otherworldly, particularly in the middle section, where the piano line floats above a hushed string tremolo.

All is not sweetness and light, however. The outer movements have many driving passages, and Kahane attacked these vigorously. In the Allegro vivace finale, with its mazurka rhythms, his fingers went impossibly fast without ever missing a note. His interpretation emphasized happiness rather than drama, and he kept dancing all the way to the end, which was greeted with another standing ovation.

As the applause continued, Kahane settled down for an encore, Chopin's Nocturne in D flat. It was a fitting end for the concert, which began early in the evening with light streaming through Weill Hall's many windows and was now enveloped in darkness.

Reprinted by permission of San Francisco Classical Voice.