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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, December 08, 2014
Bruno Ferrandis, conductor. Augsburg Cathedral Boys Choir, Reinhard Kammler, director. Kindra Scharich, mezzo soprano; Jonathan Smucker, tenor; Kirk Eichelberger, bass

Bassoonist Carla Wilson

SYMPHONY'S STRAVINSKY A WIND AND RHYTHMIC FEAST

by Terry McNeill
Monday, December 08, 2014

Santa Rosa Symphony conductor Bruno Ferrandis put together a curious program mix Dec. 8 in Weill Hall that on paper promised a culture clash, but actually delivered a memorable musical experience.

Composers often fashion suites from orchestral works, and just as often the shorter suite can be more effective than the complete piece. Stravinsky’s 1920 ballet Pulcinella in the popular abridged form is a familiar concert piece, but the complete work comprised the program’s second half, and it’s far more effective than the Suite from 1935. And in just over forty minutes it was a feast for the Symphony’s ten wind and brass instruments.

Soprano Kindra Scharich, tenor Jonathan Smucker and bass Kirk Eichelberger formed the solo trio and sang the parts in an animated but sometimes ungrateful Neapolitan Italian. But the evening’s standout performances came from stellar oboist Laura Reynolds; flutists Kathleen Lane Reynolds and Stacey Pelinka (doubling on piccolo); bassoonists Carla Wilson and Karla Ekholm; and the lone trombone player, Bruce Chrisp. Lovely duets abounded: cello and trombone, bassoon (not always playing together) and oboe-flute. The conductor’s mastery of Stravinsky’s complex rhythms was admirable, and concertmaster Joseph Edelberg played elegant and succinct solos.

In the first half the 37-member Augsburg Boys Choir performed six a capella motets and were the chorus for Mozart’s Coronation Mass, K. 317. Though the six selections in German had variety, including antiphonal stage grouping in Praetorius’ Nun komm, der Heiden Heilen, Lassus’ forceful and complex Tui sunt cáeli, et túa est térre and the Philipp Silcher celebratory Christmas song In dulci jubilo, they lacked cumulative dramatic impact. Technically attacks and cutoffs were good but often phrases were choppy and from my balcony seat the high tessitura was at times muddy. The frequent group movements on stage seemed unnecessary and time consuming.

Choir Director Reinhard Kammler conducted and was at the piano for a choral encore, the carol “Oh Holy Night,” beginning in English with subsequent stanzas appearing to be in the original French. The ovation from the nearly full Weill audience was loud.

Mozart’s short C Major “Coronation” Mass from 1779 concluded the first half in a rousing performance with three boys from the Augsburg group joining Mr. Smucker as the vocal quartet. Occasionally the orchestra covered the Choir and Mr. Ferrandis worked hard with quick eye and baton movements to get a balanced blend of sound. Used as a continuo, the organ was mostly inaudible through four speakers at back stage left, and the real sonic underpinning came from the brass, timpanist Andrew Lewis and four bass viols.

With quick tempos and piquant drama the Mass had a thoroughly graceful and Mozartian flair, with beautiful singing in the Benedictus. The unnamed-in-the-program Augsburg boy soprano sang with fervor, but I missed the color and range of a real soprano. Ms. Scharich’s operatic voice would have been a formidable substitute.