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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
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.