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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 08, 2015
Bruno Ferrandis, conductor. Pedja Muzijevic, piano

Composer Gyorgy Kurtag

TWO STEPS FORWARD, ONE BACK

by Steve Osborn
Sunday, November 08, 2015

Santa Rosa Symphony’s Nov. 7 concert ran the gamut, not only from new to old, but also from impassioned to inert. The new was Gyorgy Kurtag’s “...quasi una fantasia...”; the old were the Schumann piano concerto and Brahms’ first symphony. The Brahms and Kurtag performances were lively, but the Schumann was moribund.

Let’s start with the lively ones. “...quasi una fantasia...” was clearly unusual even before the music began. Instead of the standard orchestral seating arrangement, the chairs were shuffled around into five groups. The first group was a semicircle of chairs and piano at the front of the stage. Behind that semicircle, four other groups of chairs were scattered about the stage in a seemingly random pattern.

Another deviation from the norm was the absence of musicians, even when the lights went down. After a brief pause, they finally filed onto the stage and settled into their respective groups. The semicircle comprised a handful of strings and the piano on stage right, woodwinds in the middle, and brass on stage left, opposite the strings. The other groups were mostly percussion, but one was a collection of harmonica players.

Conductor Bruno Ferrandis briefly explained the four short movements of the piece, and then the musicians got to work. The sound from the beginning was distinctive, with a halo of percussion around slow and low descending notes beginning in the piano. The harmonicas and a marimba added to the unusual texture, which was simultaneously thick and delicate.

The second movement began with heavy percussion and then segued into the third, a deliberate march, as if to a funeral. Nearly all the instruments soloed briefly as the march proceeded relentlessly in the background. The last movement featured dense sonorities that required full attention. The descending scales appeared again, resolving into a final wash of sound from the harmonicas. “...quasi una fantasia...” lasts just nine minutes, but each one is packed with innovation and surprise. It was the perfect foil for the older works on the program, demonstrating that contemporary works can equal or even surpass the classics.

One of those classics occupied the second half. Brahms’ first symphony is an oft-repeated gem of which audiences never seem to tire. Perhaps that’s because all the parts are so authoritative and finely honed that they feel like the building blocks of a mighty fortress. Musicians, however, still have to breathe life into the parts and make sure they fit together.

The musicians at hand proved up to the task, digging in with gusto from the opening bars. The strings began each new phrase with an emphatic down-bow and bowed in unison with nary an outlier. Ferrandis infused the performance with drama by pushing tempi and eliciting pinpoint crescendos and diminuendos. At one point the syncopations got so intricate that several musicians began tapping their toes.

The unanimity of sound and pace was impressive, and the many solos were a delight. One of the standouts was the violin and horn duet in the slow second movement. Concertmaster Joseph Edelberg hit all the high notes, and Alex Camphouse's French horn articulation and phrasing were superb. The symphony hurtled forward with only brief pauses between the movements and really began picking up steam in the finale. The spark was the resonant and accelerating pizzicato at the opening, followed by heroic playing from the horns and woodwinds, and then the memorable theme. Ferrandis has a real gift for driving the orchestra forward, and drive them he did, right to the spine-tingling close.

In Schumann’s A Minor concerto, piano soloist Pedja Muzijevic was technically perfect but demonstrated little passion or projection. He sat straight at the keyboard and came down heavy on the pedal. The sound that emerged from the lid was precise but curiously muted, almost as if under water. At times the orchestra drowned him out.

Muzijevic's technique, however, was awesome. His fingers flew across the keys and fluttered so rapidly that they often seemed to be floating above the keys rather than striking them. All the notes were there, but they never ignited. Schumann is a composer who demands fire, yet there were no flames in evidence, not even smoke, and the performance became a mere collection of notes.