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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, February 08, 2015
Bruno Ferrandis, conductor. JP Jofre, bandoneón

Bandoneonist JP Jofre

A BANDONEONIST WALKS INTO A BAR ...

by Steve Osborn
Sunday, February 08, 2015

Seeing a bandoneón player in front of a symphony orchestra reminds one of the old joke about a kangaroo walking into a high-priced bar. The bartender says, "We don't get many kangaroos in here," to which the kangaroo replies, "With these prices, I can see why." Likewise, if a bandoneónist were to walk into an orchestra rehearsal and be told, "We don't get many bandoneónists in here," he or she might well reply, "With this instrumentation, I can see why."

Fitting a squeeze-box Argentinian bandoneón – an essential element of tango dance-hall bands – into a classical-music milieu is a bit of a stretch. The two sound-worlds are so fundamentally different that it's hard to imagine how they could intersect. Nonetheless, star Argentinian bandoneónist J.P. Jofre and the Santa Rosa Symphony gave it a whirl on Sunday at Weill Hall in Rohnert Park, premiering a concerto for bandoneón and orchestra by Pablo Ortiz, an Argentinian professor of composition at UC Davis.

The results ranged from the transcendent to the perplexing. In the transcendent corner were a number of arresting passages, usually slow, that allowed the bandoneón's plangent sound to pierce through the orchestral haze. On the perplexing side were passages in which the bandoneón line seemed utterly random, unable to find a thematic center. In the middle of the ring was Jofre, who delivered all his many solos with technical mastery and sensitivity.

Jofre is a striking presence on the stage. Clad in a black leather jacket and wearing white-framed designer glasses, he put his right foot atop a piano stool and placed the bandoneón (essentially a large concertina) on his right knee. The buttons on the instrument activate reeds, which produce a distinctive, often melancholy sound, somewhere between an organ and a harmonica.

The opening movement of Ortiz's concerto steered clear of melancholy. Instead, Jofre opened by noodling rapid notes in his right hand while the orchestra stayed at arm's length. Later in the movement, a slow passage brought the bandoneón's distinctive sound to the fore. Here orchestra and instrument finally meshed.

That union continued in the second movement, which opened with shimmering strings and an evocative solo from Jofre that was both nostalgic and yearning. Things perked up considerably in the concluding movement, with its insistent dance beat, syncopation, and wonderful marimba solos. Jofre joined in with some spectacular playing and intricate passagework.

Called back to the stage by strong applause, Jofre offered a more traditional bandoneón solo for an encore, the Capricho Otoñal by Leopoldo Federico. The contrast with the concerto was striking. The sound was louder, the melody more tender, and the notes more connected, almost slurred. The two pieces did, however, share the same pervasive melancholy that seems inseparable from the instrument's sound.

The remainder of the concert was far more upbeat, from an unexpected preconcert viola solo to the rousing finale of Brahms' Second Symphony. The viola soloist was Aimee Gruen, a member of the Symphony's youth orchestra, who played a selection from Ernest Bloch's Suite Hebraic as part of a fundraising effort for the youth orchestra's upcoming tour of China.

The adult version of the orchestra weighed in next with a sparkling reading of the Danzón No. 2 by Arturo Márquez. Conductor Bruno Ferrandis held everyone together, although at times his conducting seemed a bit frantic.

The Brahms Symphony No. 2, played after intermission, is not the least bit frantic. Here Ferrandis allowed the majestic themes to rise and fall at a leisurely pace. The opening movement featured outstanding French horn solos by principal Meredith Brown, complemented by a lush sound from the strings.

You expect more rhythmic contrast from the third movement, but again the pace was leisurely. Presto sections verged on Allegro, and the syncopations, while well played, didn't really pop. The fourth began more energetically, with Ferrandis picking up the pace. The ensemble was meticulous, the dynamics well controlled, the drive to the end relentless.

Reprinted by permission of San Francisco Classical Voice.