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Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, September 26, 2015
Norman Gamboa, conductor

So Co Phil Conductor Norman Gamboa

PROVOCATIVE LATIN WORKS OPEN SO CO PHIL'S NEW SEASON

by Terry McNeill
Saturday, September 26, 2015

Symphonic concerts with Latin programs usually have Copland’s El Salon Mexico, a suite from Chavez, and perhaps some Lecuana or Nazareth. Leave it to the Sonoma County Philharmonic and conductor Norman Gamboa to go in a different direction in their season-opening Latin Fiesta event Sept. 26 in the Santa Rosa High School Auditorium.

The afternoon’s major work, Villa-Lobos’ Bachianas Brasilieras No. 7, is not as well known as numbers 1 and 5, and it the longest and darkest of the set of 8. But it’s a mesmerizing piece, and the SoCoPhil played with panache if not the last word in polish. Mr. Gamboa chose a slower tempo in the opening Prelúdio than one often hears, but all to the better to underscore the work’s tinge of sadness, thick sonority and intriguing harmonies.

Throughout the 1942 composition the conductor’s secure and gracious baton technique brought out the needed contrasts, especially in the more translucent Gigue that has clearer contrapuntal lines. And long lines they were, with standout horn and tuba (Floyd Reinhart) playing. In the following Toccata a surprising strain of movie music (Andrew Lloyd Webber?) appeared, the often blaring phrases and faster tempos accentuated by Tom Hyde’s trumpet, pizzicato playing from the bass section and fascinating percussion sounds that including xylophone and sporadically marimba. All through this Bachiana the percussionists were busy with wood blocks, tiny drums and a brass gong, often in concert with the piccolo (Emily Reynolds) and bassoonist Miranda Kincaid.

The concluding Fuga reflects Bach’s “Art of Fugue” and was a captivating capstone to the performance. It opens with the theme in cellos, then violas, then second violins and bass, and finally the first violins lead the orchestra to solos of flute (Debra Scheurman), oboe (Chris Krive) and finally three pungent trombones. Mr. Gamboa deftly let some phrases overlap, perhaps deciding that at least in this orchestral fugue unclouded sonority was not the goal.

Carlos Guzmán’s Symphony of the Volcanoes comprised the second half, a splashy four-movement suite written by the Costa Rican composer to depict the landscape and ambiance of active Central American volcanoes. In three of the movements scenes of mountains, flora and fauna were projected on the wall behind the 45-person orchestra (the section Rincon de la Vieja was omitted). The colorful display was alternatively engaging and distracting.

Much of the finest playing came in the rhapsodic sections of Poás (Spring Landscape) with piquant chimes, Nick Xenelis’ clarinet and the formidable trumpets of Mr. Hyde, Karl Johnston and Phil Beard.

An atmospheric and slightly bizarre Biribas’ Circus opened the program, part of Brazilian Lucas Galon’s five-part Circus Cycle. Short but not small bursts of orchestral color jump out of an initial soporific sound that is meant to depict a rainy day near a neighborhood circus ring in Brazil. Unique sounds from indigenous instruments abound, including the alto flute and a metal cylindrical instrument held between the hands that emits a muffled cry when a coated stick is rapidly inserted. One either likes these effects or doesn’t, and I am in the former category. A provocative sonic delight.

The conductor spoke entertainingly to the audience about the unfamiliar music in a pre-concert talk, and as in past SoCoPhil concerts a member of the all-volunteer orchestra did the housekeeping announcements. Mr. Hyde was insouciant in this role.

A small but vociferous audience was in the hall for the first of the two Latin Fiesta concerts, with more familiar fare (Barber, Copland, Gershwin) expected Nov. 14 and 15 to attract larger houses. The Orchestra played parts of the Latin-inspired works to students in the same hall the afternoon of the concert, in a bi-lingual presentation to considerable acclaim.