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Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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...
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...
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...
SYMPHONY REVIEW
Green Music Center / Thursday, October 16, 2014
San Francisco Symphony. Stéphane Deneve, conductor. Isabelle Faust, violin

Conductor Stéphane Deneve

BEYOND THE GOLDEN GATE

by Terry McNeill
Thursday, October 16, 2014

Three works composed within three years of each other were programmed in the San Francisco Symphony’s concert in Weill Hall on Oct. 16, but each was sharply different.

Before a nearly full house, conductor Stéphane Denève opened with Barber’s iconic Adagio for Strings, Op. 11, in a compelling but not overly intense 10-minute performance. Cutoffs were precise, as were the violin section attacks. Mr. Denève fashioned a short concluding fermata but momentarily stopped any audience response with his left hand held high and motionless.

Strangely this mesmerizing music was quickly forgotten as violinist Isabelle Faust tackled Britten’s rarely played Violin Concerto, Op. 16, a virtuosic interplay of orchestra and soloist. Playing from score, Ms. Faust negotiated the continual high-register thematic lines and violent right-hand string plucks and slaps with aplomb. Meanwhile, Mr. Denève had consummate control over the orchestra, never covering the soloist.

At times in the Vivace movement, the music became violin against orchestra, and bits of Shostakovich’s Fourth Symphony sounded in Britten’s power climaxes. There was a long violin slide to a magnificent cadenza, along with stellar playing by the trombones, tuba and French horns. Ms. Faust deftly handled the special technique of simultaneous bowing and pizzicato.

The Passacaglia finale had a menacing character, anchored by the powerful violin sound and solos by harp and clarinet. At the end, the Symphony’s refined quiet playing underscored a lovely slow trill from Ms. Faust. Mr. Denève again stopped the expected ovation with a raised arm for many seconds after the music ceased.

For Rachmaninoff’s Symphonic Dances, the orchestra was augmented by saxophone and piano. The playing was virtuosic for a not-long-at-all 39 minutes. Instrumental duos were spread throughout the orchestra: harp and piano, saxophone and oboe, English horn and flute, string tremolos with bassoon, and even the juxtaposition of trombones and trumpets. The string section handoffs (violas to violins) were seamless, and fast accelerandos and strident passages were played faultlessly.

There is nothing Russian about these dances from a composer who was intensely Russian. Mr. Denève’s authoritative baton was always whirling and thrusting, asking often for a vast volume of sound. Weill Hall and ultimately the audience responded in kind.

Following a raucous ovation, Mr. Denève breathlessly addressed the audience to praise Weill’s acoustics and rhetorically ask for a return concert with this marvelous orchestra.

Violinist Ruggiero Spalding contributed to this review