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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, February 8, 2015
Bruno Ferrandis, conductor. JP Jofre, bandoneón

Bandoneonist JP Jofre

A BANDONEONIST WALKS INTO A BAR ...

by Steve Osborn
Sunday, February 8, 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.