DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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,...
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...
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...
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...
Violinist Gil Shaham
A FORCE TO BE RECKONED WITH
by Steve Osborn
Saturday, August 02, 2014
The audience filing into Saturday's National Youth Orchestra concert at Weill Hall in Rohnert Park was greeted by the sight and sound of 120 teenaged musicians furiously warming up and clad in a patriotic outfit of red pants and sneakers, white shirts and … black blazers, ties and scarves? So much for the red, white and blue, but the costumes were beguiling nonetheless.
Equally beguiling were the inhabitants of those costumes: fresh-faced young people aged 16 to 19, brimming with confidence and excitement. For many of them, one suspects, this concert and the others on their current tour are the event of a lifetime. Some may continue as professional musicians, but most are likely to veer into better-paying careers. For now, however, they're all playing together, unbesmirched by adult concerns.
They continued warming up, creating an ever more deafening noise until the lights went down and conductor David Robertson bounded out, his step lightened by the same Converse sneakers that the teenagers wore. Seconds later, the massive ensemble--which included 36 violins--slammed into Leonard Bernstein's symphonic dances from "West Side Story."
The sound was impressive, to say the least. Everyone played with youthful energy, adhering closely to Robertson's motions. He sharply accented the beats in the opening prologue and then turned the orchestra on a dime for the memorable "Somewhere." A serene beginning with gorgeous string solos ended with a huge swell from the rest of the orchestra, which exhibited precise dynamic control.
Guided by Robertson's relaxed and apparently effortless conducting, the orchestra played the remaining six dances with equal parts fervor and command. The "mambo" shout in that dance rang throughout the hall, confirming that everyone was having a great time. On occasion, Robertson really danced on the podium, gathering his forces for a sudden crescendo or dramatic off-beat. All the solos were great, particularly the flute at the end.
While introducing the next piece, 16-year-old French hornist Andrew Angelos observed that the Bernstein "sounds better when played by a youth orchestra--we tend to have more energy."
Soloist Gil Shaham proved equally energetic in the Britten violin concerto, one of five concertos from the 1930s featured on his recent two-CD set. On that recording, he's accompanied by the Boston Symphony Orchestra, but the National Youth Orchestra sounded just as good, if not better.
Shaham is an engaging performer. He invariably smiles after difficult passages and frequently turns around to encourage his fellow musicians. His bow control is superb and his intonation spot-on, even in the highest registers. His performance of the notoriously difficult Britten concerto was faultless and impassioned, which is more than one can say of the piece itself.
While the concerto is full of memorable snippets and breathtaking solos, it lacks a coherent narrative. At times it sounds like a partita for solo violin superimposed on a threnody for orchestra. It hasn't aged nearly as well as the Barber and Berg concertos written around the same time, nor is it performed as often. Still, it's a dazzling workout for the soloist, and Shaham was resplendent.
The second half began with a major reshuffling. The string sections, for instance, were completely reversed. The first two chairs were now in the back row, and the back row was now in the front. The intent seemed to spring from a desire to give everyone equal playing opportunities, helping them move beyond the "I'm not playing second fiddle" mentality.
Once the orchestra settled in, they eased into "Radial Play," by the 20-something composer Samuel Adams. True to its title, "Radial Play" consists of short sections that radiate out from a central pitch. In the first section, for example, the harp plucks out a central pitch and then the other instruments join in with brief, accented entries that accumulate into a dense but refreshingly bright sound marked by unusual percussion and strong syncopations.
"Radial Play" is full of promise but is over almost as soon as it begins. Perhaps Adams can use a similar structure for a longer, more fully developed future composition.
Rounding out the show was a spine-tingling performance of Mussorgsky/Ravel's "Pictures at an Exhibition." This oft-performed masterpiece is a rite of passage for young musicians, with each generation bringing its own insight and style. The style here was vivid, with hints of transcendence. The apprentices breathed new life into the familiar melodies, playing with conviction and impressive speed, especially in "The Market at Limoges."
The transcendent moments came in the concluding "Great Gate at Kiev," where the teenagers played full out, with no holds barred. It was a triumph of youth. At the end, everyone was smiling, except for one violinist, who seemed overcome with emotion after such a splendid performance.
Two encores followed: the suite from Gershwin's "Porgy and Bess" and an arrangement of "America the Beautiful." The former was marvelous, but the latter seemed more a product of patriotic fervor than musical inspiration.
No matter. All told, the National Youth Orchestra is a force to be reckoned with.
Reprinted by permission of San Francisco Classical Voice.