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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, March 28, 2015
Norman Gamboa, conductor. Kathleen Lane Reynolds, flute

K. Reynolds Receiving Flowers March 28

HARMONIC CONVERGENCE IN PHILHARMONIC CONCERT

by Terry McNeill
Saturday, March 28, 2015

Concluding a stellar season March 28 in the Santa Rosa High School Auditorium the Sonoma County Philharmonic played a concert rich in orchestral symmetry, mixed with a piquant flute concerto.

The symmetry began with the afternoon’s initial work, Carlos Escalante Macaya’s five-part “Ineluctble…El Tiempo.” Composed as a dance suite, the work spanned 30 minutes had a sensuous mix of color, especially from the winds, harp (Dan Levitan) and a six-person percussion section. Led by timpanist Anthony Blake, the sextet included Joseph Long (snare drum and others); Al Sinerco (glockenspiel); Jocelyn McCord (vibraphone); Walt Bodley (bass and tom tom drums) and Mary Greenberg (blocks and shakers).

Mr. Escalante, whose clarinet concerto was played in 2013 by the SCP, has a penchant for florid orchestration that had touches of minimalism (Reich’s “Music for 18 Instruments”) juxtaposed with lively themes sweetened by flute solos. The lovely Bourée had a beguiling pensive character, and the often tricky rhythms were deftly managed by conductor Norman Gamboa. There were several intense climaxes punctuated by the playing of three trombones and a solo by bassoonist Miranda Kincaid, with elegant oboe playing from Chris Crieve. The conductor shaped everything well and seldom looked at the score.

Prokofiev’s second Suite from the ballet “Romeo and Juliet,” Op. 64, concluded the first half. In seven parts the music from the mid 1930s was played with all the composer’s trademarks of the time: lush harmonies, brilliant brass, long thematic lines and limpid instrumental duos with solo violinist Pam Osuka.. The short references to Shostakovich’s Fourth Symphony from 1936 were underlined in a duet from bassoonist Miranda Kincaid and flutist Emily Reynolds, and allusions to Respighi’s “Pines of Rome” were in this princely music. Mr. Gamboa directed with mastery the shimmering fabric and potent climaxes of the long Suite that never felt long.

In the finale (Romeo and Juliet’s Grave) tenor saxophone Ken Ward and celeste player Alice Chan were standouts. There was a sad texture to this section, punctuated by a piccolo solo in the long decrescendo at the end.

Following intermission Liebermann’s Flute Concerto, Op. 39, was played, and is a popular (for a flute concerto) 1992 work that featured Sonoma County virtuoso Kathleen Lane Reynolds. Some might say “local girl makes good” but such a comment is inane, as Ms. Reynolds is a mature musician that has played splendidly for years with the Santa Rosa Symphony. The choice of the Liebermann was a savvy program selection as the work is harmonically grateful and made the most of the soloist’s formidable interpretative command.

Parts of the three-movement Concerto reflect movie music, not a bad thing from masters such as Korngold, Copland and Liebermann. Ms. Reynolds played the high-register runs and surprise turns in the Moderato with easy aplomb, giving a feeling of vistas opening. There were captivating and balanced duets between the solo flute and the orchestra, and Mr. Gamboa's hand was light when it needed to be. In the lyrical Adagio connections with the “Romeo and Juliet” Suite were evident in modulations, generous resonance and the Ms. Reynolds’ sound that oddly approximated the oboe at times. This savory playing had perfect breath control, leading up to meditative and long-held final note.

The concluding racehorse Presto featured the soloist’s quick upward phrases and accurate octave skips. I have heard the movement played faster with mastery equal to that of Ms. Reynolds, but the acceleration to the end was imposing and brought the audience of 400 to their feet with loud applause.

Of course bundles of flowers were quickly brought to Ms. Reynolds, some by Santa Rosa Symphony colleagues, and was indication of the the esteem with which they hold her artistry.