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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, January 11, 2015
Michael Christie, conductor. Mark O'Connor, violin

Violinist Mark O'Connor

AMERICANA WITH A FLASHING BOW

by Steve Osborn
Sunday, January 11, 2015

Mark O'Connor is an extraordinary fiddler, as he amply demonstrated via his bravura performance with the Santa Rosa Symphony on Sunday afternoon. Whether he is an extraordinary composer is open to debate.

The audience had ample time to judge O'Connor's compositional skills during the program, half of which was taken up by the outer movements of his lengthy "Fiddle Concerto" and the entirety of his much shorter "Strings and Threads." The other half went to another American--Aaron Copland--who also mines folk-music material.

O'Connor's writing ranges from the predictable to the sublime. The latter quality was nowhere more evident than in his concerto's final cadenza, which begins with a plaintive melody that evokes the melancholy of the Appalachians. Clad in a sharkskin suit, O'Connor first set off the melody with double stops, but then took flight and enveloped the tune with a swirling halo of rapid-fire notes in the upper registers, all played sotto voce. The effect was haunting, even mesmerizing.

The cadenza continued in this vein for quite a while. The passagework got ever trickier, and O'Connor's bow flew ever faster, until he suddenly lifted it off the strings and played a two-handed pizzicato with fingers plucking from all directions. Just as abruptly, he disdained the strings and played his instrument as if it were a drum, tapping his fingers everywhere but the fingerboard.

Taken by itself, the cadenza was a musical delight. But it was just one component of the concerto, a substantial work that features a full orchestra--in this case led by guest conductor Michael Christie--and plenty of back and forth with the soloist. Here O'Connor's skills were less evident. The concerto is essentially a pastiche, with a string of less than memorable tunes strung together by O'Connor's instrumental virtuosity, much like Paganini used to do.

O'Connor often tries to develop themes by starting them at the bottom of the scale, then repeating them up a step, then another step, and so forth until reaching an artificial climax at the top. Another favored device is for the soloist to repeat orchestral material with substantial embellishments, playing a bevy of notes when one or two might suffice. This device, which one might call poly-notalism, dazzles at first but gets tiresome when every line is filled with hemidemisemiquavers.

On balance, O'Connor's virtuosity and infectious enthusiasm more than compensated for the concerto's structural deficiencies. That was even more the case in "Strings and Threads," an unabashed suite of folk-like tunes written by O'Connor and played by him and his wife Maggie O'Connor, with the orchestra acting as little more than a basso continuo.

Ms. O'Connor, wearing a gossamer orange gown, proved to be her husband's match in terms of finger and bow speed, but her sound was more subdued, perhaps because of her violin. The two took turns playing the beguiling melodies, which more or less trace the history of American folk music, from an ancient-sounding "Fair Dancer Reel" to a swing-based "Sweet Suzanne." The playing throughout was dazzling and rapid, with occasional ritards during the bluesier numbers.

Like O'Connor, Copland often bases his music on folk material, but his approach is entirely different. Instead of taking the tunes at face value, he strips them to the core and then reassembles the material in his own distinctive voice. The tunes are still in there somewhere, but the composition--be it "Billy the Kid" or "El Salón México"--is pure Copland.

Christie, the guest conductor, opened the concert with a competent but somewhat lackluster reading of "Billy the Kid," a seven-movement suite drawn from the ballet of the same name. Christie is an unobtrusive leader, with feet solidly planted and arms giving a compact and consistent beat. His technique was helpful for Copland's tricky rhythms and copious syncopation, but it failed to deliver a compelling arch for the entire work.

Orchestra and conductor fared much better in "El Salón México," which closed the concert. Here Christie began with an invigorating tempo while maintaining a clean sound. The many brass and woodwind solos emerged from that texture with startling clarity. Even better, the precise beats and carefully observed syncopations created palpable tension as Christie kept driving the orchestra forward.

In "El Salón México," the rests are as important as the notes. Instead of creating a fluid line, Copland offers only glimpses, engaging the audience to fill in the gaps. Nothing lands where you think it will, even in the long crescendo to the end. These last few moments gave rise to the best playing of the afternoon. Surely the tensions had to resolve, and they finally did with a triumphant final chord.

Reprinted by permission of San Francisco Classical Voice.