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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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