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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
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, May 03, 2015
Bruno Ferrandis, conductor. Abigail Fischer, mezzo-soprano. Women's Chorus of the SRS Honor Choir, Robert Worth, director, Santa Rosa Children's Chorus, Carol Menke, director

Mezzo soprano Abigail Fischer

SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD

by Steve Osborn
Sunday, May 03, 2015

Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience can be unforgettable.

The Santa Rosa Symphony's performance of Mahler's epic work, in Weill Hall on a gloomy Sunday in early May, rewarded listeners amply. Under the inspired leadership of Bruno Ferrandis, the orchestra delivered a Mahler Third that remains etched in the mind.

The first notes, from no less than nine French horns, were bold, confident, and heraldic. The horns started loud and ended soft, punctuated by the beats of a huge bass drum on the other side of the stage. The notes rang out brightly, thanks in part to Weill Hall's superb acoustics. Only a slight discord on the top note marred the horn section's otherwise exemplary unison playing.

The horns dominated the long first movement, complemented by several gorgeous solos from principal trombonist Bruce Chrisp. Mahler marked the movement as "Strong, determined," and Ferrandis followed that instruction scrupulously. Despite the relatively slow pace and diversity of musical ideas, he marched the orchestra relentlessly forward. His movements on the podium were elegant and relaxed, a distinct change from earlier years when he seemed tense and high-strung.

An evocative offstage snare began the final section, which ended with a tremendous climax at top speed. It was hard to imagine what might follow, but the stage entry of Abigail Fischer, a young mezzo soprano, along with a women and children's choir that trooped into the choir loft behind the stage, marked an abrupt shift in mood. The second movement, a minuet, began slowly and quietly in the strings, with no brass in evidence. In the hands of the Symphony, the dance felt airy and graceful, with an effortlessly flowing theme.

The second movement morphed seamlessly into the third, marked "Without haste." Superb playing throughout the orchestra highlighted the many playful elements of this pastoral idyll, including bird calls and shimmering reflections. Most memorable, however, was an off-stage trumpet weaving in and out of the sonic fabric.

When the "Very slow" fourth movement began, Fischer finally rose from her seat and revealed her glorious voice. Over pianissimo strings, she glided into the rich, low opening words of Nietzsche's "Midnight song." "O Mensch! Gib Acht!" (Oh people, give heed) she sang, with excellent enunciation and a resonant tone. She made each note count.

Fischer continued standing to join with the chorus in the sprightly fifth movement, marked "Happy in tempo and impudent in expression." Here the children stood out, singing without score in purple dresses (girls) and white shirts (boys). Their bell-like voices were clearly audible above the black-clad women, many of whose faces were buried in scores that blocked their sound.

The über-climactic finale began magisterially in the strings, with the cellos carrying the melody. Ferrandis and the players were sensitive to the dynamics: Soft passages were truly soft, and loud ones swelled mightily. Mahler could go on forever, but he finally brings matters to a close with not one, not two, but three tremendous climaxes and a sustained ending that closes and opens repeatedly until at last settling on a final note.

[Reprinted by permission of San Francisco Classical Voice]