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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, April 16, 2015
Pablo Heras-Casado, conductor. Igor Levitt, piano

Conductor Pablo Heras-Casado

LUMINOUS SOUND IN SF SYMPHONY WEILL HALL CONCERT

by Terry McNeill
Thursday, April 16, 2015

Though the Santa Rosa Symphony is the Green Music Center’s resident orchestra, when the San Francisco Symphony plays Weill Hall they take total artistic ownership. In the penultimate of the four annual Bay Area run outs the SFS played a compelling program April 16 of four masterworks with flawless cohesion and virtuosity.

Using a reduced-size orchestra of no percussion and just three cellos and two basses conductor Pablo Heras-Casado directed a taut and balanced Haydn Symphony No. 44 in E Minor. In a style opposite of conductors Michael Tilson Thomas and Bruno Ferrandis Ms. Heras-Casado gets results with no baton and little body movement. The Symphony flowed elegantly from hornist Robert Wards first bucolic notes to a Presto finale that had just a touch of menace. The conductor’s deft control and precise string playing made the 1771 Haydn a refined experience, and not at all the “mourning” of the sobriquet.

Mozart’s sparkling E-Flat Major Concerto, K. 271, closed the first half with Russian pianist Igor Levit the soloist. As with the Haydn all was in place, Mr. Levit choosing a crisp and direct approach with rapid right-hand scales and a tempo to match. There were piquant solos by oboist Mingjia Liu and before the cadenza (by Mozart) a lovely piano-horn duo. This was chaste playing with not a hint of bravado or shaky rhythms.

In the plaintive Andantino Mr. Levit continuously used the shift pedal to echo the orchestra’s introspective phrases and his expressive and even trills were nonpareil. The playing in the finale was at times dramatic but never loud with concertmaster Alexander Barantschik’s violin line in a lovely “question and answer” correspondence with the pianist. Mr. Levit’s detaché touch in scales was masterly, as was his cross-hand technique and subtle accents in ascending passagework. The short ersatz solo cadenza and the urbane conducting combined to produce an assured and luminous performance.

Beautiful playing continued after intermission with Debussy’s Prélude à après d’un Faune, and flutist Tim Day’s playing of the languorous opening solo was ravishing. Mr. Heras-Casado was in ho hurry with this enchanting music, letting long phrases unfold from the clarinet, harp and horn players. This work was recently played on the same stage by the Santa Rosa Symphony in a performance of equal weight and intensity, if not quite the precision of the San Francisco players.

A full orchestra compliment was marshaled for the evenings’ last work, Stravinsky’s Symphony in Three Movements. It was a savvy program choice as the 1945 work is a feast of orchestra color and tricky rhythms. Stravinsky’s music of this period, leading into the contemporary “Symphony of Psalms,” is instantly recognizable from the raucous but eminently controlled syncopation and instrumental execution. Section control is critical here and Mr. Heras-Casado kept distinct sectional sound, the sonorous harp, bassoon, clarinet and piano parts always clear. Even in the laconic Andante, a polar opposite to the histrionic first and third movements, the conductor never let the pace become flaccid.

The Con Moto finale grows without an initial pause into a high-stepping march with a persuasive fugue starting from Robin Sutherland’s piano part and moving to several potent climaxes. The ensemble was immaculate with a boisterous champagne orgy of sound, drawing the audience of 900 to a standing ovation.

Though not technically in residence the San Francisco Symphony has become one of Weill Hall’s musical treasures, easily equal in artistry to the recent Vienna Philharmonic, Russian National and Suisse Romande orchestra performances.