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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 / Saturday, March 21, 2015
Bruno Ferrandis, conductor. Olga Kern, piano

SRS Hornist Meredith Brown

A TROIKA TO REMEMBER

by Steve Osborn
Saturday, March 21, 2015

At the beginning of the 20th century, Russia was home to three extraordinary composers--Rachmaninoff, Prokofiev, Stravinsky--whose stars continue to shine. Rachmaninoff carried on the Romantic tradition, Stravinsky tried to annihilate it, and Prokofiev landed somewhere in the middle, clinging to traditional forms while injecting radically new content.

Their differences were well illustrated by the Santa Rosa Symphony in their March 22 concert in Weill Hall. Conductor Bruno Ferrandis chose youthful pieces by each one: the Rachmaninoff Piano Concerto No. 1, written when he was 18, the Prokofiev Piano Concerto No. 1, penned at 20, and the Stravinsky "Firebird" suite, at an ancient 27. Pianist Olga Kern played both the concertos, and Symphony first chairs supplied pervasive solos in the Stravinsky.

Wearing a gorgeous one-strap purple gown, the svelte, blond-haired Kern exuded confidence from the opening notes of the Rachmaninoff, and she got better as the concert unfolded. She sits straight but not rigid, her head slightly bent over the keys, her concentration intense. Her arms move as gracefully as a ballerina's, and her fingers fly over the keyboard with flawless rapidity.

Kern didn't really stand out until the cadenza of the opening movement, where she hit low notes with pinpoint accuracy while playing intricate fast passages in the upper registers. She then made a beautiful transition to a slower tempo, changing the mood in a split second.

While the first two movements of the Rachmaninoff are fairly bland, the third--which he reworked at a later date--offers some musical challenges. These Kern met to a degree, but her dynamic range seemed limited, and her interpretations too straightforward. The movement calls for drama and expressivity, but Kern was mostly subdued, if technically perfect.

The Prokofiev, which began the second half, ratcheted the drama up by several notches. The memorable opening phrase, with its strong accent at the top of a melodic arch, calls for all-out playing from both orchestra and soloist. Here Kern got more in the mood, playing the many iterations of opening phrase with vigor and the subsequent passages with fierce intensity. While at times hampered by inadequate dynamic contrast, she drove into the final section relentlessly, engaging in an animated call and response with the orchestra. The run-up to the end was truly bravura, and the sustained ovation well deserved.

After the Prokofiev, the orchestra emerged from the shadows to perform the suite from Stravinsky's "Firebird" ballet, a staple of the modern repertoire. Beginning with a six-note figure in the low strings, the suite moves inexorably forward, each section reflecting the action of the ballet. Even without the dancers, one can imagine their motions.

In the "Firebird," with its spiky rhythms and incessant melodic handoffs, all the orchestral parts have to fit exactly for the music to work. The fit in this performance was precise, and hearing the hot-potato phrases skip from woodwinds to brass to strings was a sonic delight. Ferrandis held everyone together with a steady beat that was easy to read.

The "Firebird" unfolds by degrees. Most of the first half is relatively subdued, with frequent solos from first chairs, most memorably the French horn. Horn principal Meredith Brown played each of her solos impeccably, with wonderful tone. The enchanting interplay between soloists and full orchestra came to an abrupt end with a mighty blow to the bass drum. The transition was so effective that several people around me jumped in their seats.

The tempo in the latter part of the suite was often fervid, with Ferrandis leading the charge. The brass,led by principal trumpeter Doug Morton, were especially prominent. The sustained buildup led to a tremendous orchestral chord and an abrupt transition to quietude, marked by a wonderful bassoon solo from principal Carla Wilson. During a subsequent pianissimo tremolo from the strings, the audience sat in pin-drop silence. The final bars, marked by a restatement of the horn solo and principal theme, were nothing short of triumphant, culminating in a thrilling final chord.

The concert was the best of the Symphony's season to date, and their performance of the "Firebird" was exceptional. Another reason for the concert's success was the cogent choice of repertoire. The beginning of the 20th century was a splendid time for music in Russia, and the concert displayed the range and depth of that period. Now if only Ferrandis could assemble a concert with substantial works by three 21st century American composers. Future audiences might find them as innovative and inspiring as their Russian counterparts.

Ed. Note: this review is the first of two for the concert