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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Sonoma County Philharmonic / Sunday, September 28, 2014
Norman Gamboa, conductor. Michael d'Arcy, violin

Conductor Norman Gamboa

INTOXICATING ORCHESTRAL SONORITIES

by Terry McNeill
Sunday, September 28, 2014

For the first Sunday afternoon concert of their 16th season, on Sept. 28, the Sonoma County Philharmonic presented an all-Russian program that spotlighted intoxicating orchestral sonorities and heroic conducting from Norman Gamboa. He opened with a stunning performance of Kabalevsky's snappy overture to the opera "Colas Breugnon." This five-minute romp is reminiscent of Shostakovich's "Festival Overture," written 16 years later.

Renowned Irish violinist Michael d'Arcy followed with a focused but small-scaled reading of the soaring Prokofiev Second Concerto, from 1936. The tempos throughout were judicious, and balances favored the low strings, making some of his high notes nearly inaudible. Mr. d'Arcy began the Andante second movement eloquently, his line emerging from silence into a mournful theme of majesty, juxtaposed with the bassoon playing of Miranda Kincaid and Steven Peterson, and Mary Kruzas' richly hued clarinet. It was cantilena of a high order.

The swirling marcato finale was effective but lacked frenzy and power.

Power and pathos were in evidence after intermission with Tchaikovsky's sixth and last symphony, the "Pathétique." Mr. Gamboa adopted a slow tempo at the beginning, emphasizing the extraordinary sound of a low bassoon solo rising through the murk of the basses. He was in no hurry to lessen the impact of the prismatic themes and the many climaxes. The viola section could often be heard over the violins, perhaps a feature of Santa Rosa High School Auditorium's bright acoustics.

Standouts in the slow waltzes of the Allegro con Grazia were clarinetist Nick Xenelis, flutists Emily Reynolds and Debra Scheuerman, and the trombone section. Mr. Gamboa built the sonorities carefully, at times holding back in tiny ritards to give this sometimes convoluted score control and shape.

As usual in public performances, the last chords of the scherzo-like third movement (punctuated by timpanist Walt Bodley and blaring trumpets) elicited loud applause, and the conductor stood stoically before beginning the lament of the unique finale. Tchaikovsky's fourth and fifth symphonies are "fate" works that end in triumph, but the conclusion of the sixth is the harbinger of defeat and disaster. Successive notes came in alternation in first and second violins, whose seating on opposite sides of the stage maximized the effect. Even the soft gong stroke could be distinctly heard. The repetition of a new melody in a major key become obsessive, another marker of sadness that was touchingly played.

The nearly full house greeted the performance with a loud ovation, certainly due to the ensemble's capable playing and Mr. Gamboa's adroit direction.