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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, October 12, 2014
Bruno Ferrandis, conductor. Yevgeny Sudbin, piano

Composer Bela Bartok

LATE-INNING HEROICS

by Steve Osborn
Sunday, October 12, 2014

Much like a home baseball team that scores the winning run in the bottom of the ninth, the Santa Rosa Symphony saved the best for last in its Sunday afternoon concert on Oct. 12. They led off with a tentative but ultimately captivating reading of Richard Strauss's "Till Eulenspiegel's Merry Pranks," followed with a solid but subdued performance of Beethoven's "Emperor" piano concerto, hit their stride with Wagner's "Tannhaüser" overture, and finally scored with Bartok's magnificent "Miraculous Mandarin."

That final work, written for a scandalous ballet, was easily the most riveting of the afternoon. Beginning with a propulsive opening in the second violins, the score is one long, tense buildup to a bloody and anguished climax. In the ballet, three criminals force a prostitute to lure customers in order to rob them. Their plans are thwarted by a mysterious mandarin who falls in love with the prostitute and repels their attacks.

Musically, this lurid plot induces restless energy and seething tension. The most prominent musical device is a sharply syncopated melodic line over a perpetually shifting drone. The violas played the first such line with powerful unison and great expression. They were followed by the cellos and then a series of bewitching solos from the clarinets and trombones.

The texture was wonderfully dense, with each section of the orchestra playing in a range of timbres. Conductor Bruno Ferrandis urged everyone forward at a feverish pitch, leading to a shattering ending and sustained applause. The only regret was that no dancers were on hand to enact Bartok's remarkable score.

The Bartok was a welcome and unexpected end to an afternoon of crowd favorites, beginning with Strauss's oft-performed tone poem. The playing here was precise but too deliberate to bring out the humor of the story, which revolves around Till's various pranks and his ultimate trip to the gallows. Ferrandis seemed a bit stiff in his gestures, a little too measured. A more relaxed approach might have induced more flexible playing and stronger dramatic contrasts.

By the march to the gallows, however, both Ferrandis and the orchestra had warmed up, and the playing was resplendent. The coda was magical.

Swift on the heels of Strauss came Beethoven's Emperor Piano Concerto (No. 5) with the Russian soloist Yevgeny Sudbin. He is a technically dazzling pianist in his thirties who is all business. His basic posture is to bend his head forward and hunch into the piano so that it occupies his entire field of vision. You would never know what he's playing based on his body language--he barely moves, except for his hands, which hang suspended in mid-air.

Sudbin uses lots of pedal but has an exceedingly delicate touch. His trills are rock-solid and expressive, a talent he used repeatedly throughout the concerto. Trills are so prominent in the Emperor that they become a method of sustaining notes, almost like bowing across a string or breathing into a horn.

The playing was faultless but ultimately somewhat timid. Sudbin didn't project as much as he could have, and his climactic moments were perfunctory, particularly at the end of the concerto where his final triumphant run up the keyboard seemed to peter out. Nonetheless, it was an accomplished performance, and it earned a standing ovation.

Ovations were also in order for the student musicians from the Symphony's top-tier youth orchestra who joined their elder colleagues after intermission to play Wagner's familiar overture to the opera “Tannhaüser.” The opening was magisterial and the mood triumphant, with Ferrandis conducting in sweeping gestures. This being Wagner, the horns were a central feature, but the strings also had their moments, particularly the violas, whose part was unusually prominent.

"Tannhaüser" is Wagner at his most commanding and assured. The players really leaned into their lines, and the resonant themes stood out in sharp relief. It was great theater, and it bodes well for the future that so many young musicians were able to join in.