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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
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 REVIEW
Mendocino Music Festival / Saturday, July 11, 2015
Allan Pollack, conductor. Livia Sohn, violin

Alan Pollack Cheers Livia Sohn July 11 (Nicholas Wilson Photo)

SPLASHY RUSSIAN MUSIC IN MENDOCINO MUSIC FESTIVAL OPENER

by Terry McNeill
Saturday, July 11, 2015

Summer music festivals season tend to be launched each season with a sparkling audience-pleasing program, and the 29th Mendocino Music Festival opening concert was no exception July 11 with an all-Russian program in the big white tent concert hall on Mendocino’s breezy bluff.

Conducted by Artistic Director Allan Pollack, Shostakovich’s Jazz Suite No. 2 was an exciting beginning, a three-movement work from the 1930s that takes raucous orchestration to its zenith. The composer is a master at this kind of music, melding into the rhythms snare drum and trombone solos with in the second movement a “palm court” saxophone part.

Mr. Pollack conducted without score and was able to easily move the music from a circus polka style of the familiar “Waltz 2” movement to a forceful quick ride march in the final “Dance 1.” Bravos from the audience ensued.

Even given the Orchestra’s dynamic playing and catchy themes, the work quickly fades from memory. Not so with the Prokofiev 7th Symphony, the composer’s last from 1952. It’s a curious work, similar to the 7th (and last) of Sibelius in its autumnal character. And there are two possible endings to the last movement, one with a mysterious fade to the bell song of the opening Moderato movement, and one with 22 additional bars of a gallop and pulsating conclusion. I’ve usually heard the former but Mr. Pollack chose the latter, and it worked well.

The noble first-movement theme in C-Sharp Minor was played majestically, the sonic balance good with shining brass contrasting with a lonely triangle part and lovely solos from clarinetist Eric Kritz. Before the lively Allegretto began a faint sound from a rock band from the nearby McCallum House Inn wedding party was heard in the tent, a casualty of how loud music can carry far at night across an ocean bluff. Some audience clapping followed this movement’s conclusion, an acknowledgment of the Thomas Nugent’s oboe playing and pungent trombone and trumpet lines.

The wistful slow Andante was deftly shaped by Mr. Pollack, the music moving through remote keys and graceful colors. Adding to this rich sonic fabric were soft harp arpeggios (Anna Maria Mendieta) and piquant triangle and xylophone playing. A fetching combination.

A lot is going on with the finale’s boisterous march, and the connection to banal parts of the preceding Jazz Suite was palpable. It’s a loud movement in places, the sound distinct through the tent’s direct (non reverb) acoustics. The conductor with his signature sweeping arm movements was able to carefully juxtapose the propulsive and often violent sections with the composer’s mellow nostalgia. It became a satisfying benediction.

Programming this Prokofiev Symphony was a brave choice for Mr. Pollack, and the results were for me the evening’s highlight.

Tchaikovsky ’s marvelous D Major violin concerto with soloist Livia Sohn completed the program. Although even more popular than the Mendelssohn, Beethoven and Brahms concertos, the Tchaikovsky has been seldom played on the North Coast, and the last time I recall it was a potent Marin Symphony performance in 2010 with Vadim Repin.

Thematic richness characterizes the Concerto from 1878, and Ms. Sohn made the most of the Allegro’s stately themes and the conductor’s choice of a slow tempo. The interpretation was not weighty and Ms. Sohn was content to emphasize lyricism, legato ascending scale passages and chaste ritards before delicately held top notes. In climaxes her sound was sporadically covered by the Orchestra, but the long cadenza was played with enough virtuosity, though limited in power, to bring most of the audience of 800 to its feet in an ovation. And it was just the first movement.

In the following Canzonetta Ms. Sohn’s control of pianissimo was assured during short duos with clarinet, oboe and flutists Mindy Rosenfelt and Kathleen Reynolds. The phrases were shaped with elegance and subtle charm.

Without pause the music drove into a lively Allegro vivicissimo, and Mr. Pollack drew from the Orchestra some of the concert’s best playing. The tempo here was brisk, but not so fast that coordination with the violinist was affected. Ms. Sohn’s light and fleet bow technique was well matched to this quintessential pyrotechnical finale, and surprisingly the low register violin sound was as persuasive as the famous splashy high notes.

Applause was long and loud, but no encore was offered.