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Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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...
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.