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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.