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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, November 08, 2008
Bruno Ferrandis, conductor
Gilles Apap, violin

Gilles Apap

APAP! GOES THE FIDDLE FOR SANTA ROSA SYMPHONY

by Steve Osborn
Saturday, November 08, 2008

In the publicity photo for his solo appearances with the Santa Rosa Symphony, violinist Gilles Apap is shown holding his instrument sideways, with the F-holes facing out and his goateed chin resting on the bottom edge, far from the actual chin rest. One assumes that the photo captures him in a moment of repose or contemplation, since playing the violin in such an awkward position would be virtually impossible. Impossible, it turns out, for anyone but Apap, who really does play his violin sideways, frontways, upways, downways — just about any which way but normal way.

Apap’s unorthodox approach to fiddling was evident before he even set bow to string in his Nov. 8 concert with the symphony. Accompanied by tuxedo-clad Maestro Bruno Ferrandis, he strode upon the stage wearing a black open-collar shirt, black pants and an impish grin. He then made a laugh-provoking comment to the orchestra — unintelligible to those of us in the distant reaches of the balcony — before wandering around in his designated space, trying to find the right spot.

When Apap finally started playing Alban Berg’s miraculous Violin Concerto, the tone that emerged was gorgeous and other-worldly. He exhibited masterful bow control and a wide, expressive vibrato well suited to the elegiac mood of the concerto, written “To the Memory of an Angel.” If one were to hear such playing on a recording, one would imagine a violinist firmly planted on the ground, striving mightily to keep bow glued to string while producing a fluid stream of sound.

The reality was quite different. Apap was constantly on the move, not only with his feet — which carried him all over the front of the stage and into the orchestra — but also with his left arm, which kept yanking his violin from normal position down into the nether reaches of his shoulder and chest. He punctuated the ends of phrases by pulling the violin away from his body, bow still attached, seemingly commanding the instrument to levitate of its own accord.

As the antics continued, one began to wonder if they were merely a sideshow or if they were actually connected to the music at hand. Maybe Apap goes through similar gyrations when he performs other concertos, but in this case the antics seemed to be in keeping with Berg’s music, which is often operatic and expressive in the extreme. In his Gypsy dance with the violin, Apap seemed to embody the conflicting emotions and pangs of love that propel Berg’s music. To be sure, Berg is mathematical and precise, but his concerto depicts the death of a young girl, the frustrations of his own illicit love affair, and the impending agony of the Nazi era. In the face of such an emotional overload, who wouldn’t strut and fret upon the stage?

The only complaint — and it is a familiar one — is the inadequacy of the acoustics in the Wells Fargo Center. Berg’s concerto is quite delicate, with a wealth of intricate passagework and contrasting dynamics. Much of this delicacy was lost in the muddy haze of the Person Theater, as was the tone of Apap’s violin, which didn’t seem quite as full as it could have been.

Acoustics were also a prominent feature of the opening work, György Ligeti’s “Lontano,” which begins pianissimo in the flutes and only rarely gets much louder. Like many of Ligeti’s compositions, “Lontano” quickly establishes an eerie, haunting atmosphere characterized by tremolos in the strings and iridescent tones from the woodwinds. The effect is spellbinding and filled with expectancy. In this case, however, the expectancy led nowhere, as the brief piece concluded before it could take off. One ended up wanting more.

Not to worry. “More” arrived not only with the Berg concerto, but also with Schubert’s lengthy Symphony No. 9. Aptly titled “The Great,” this magnificent work puts the full orchestra on display and requires unflagging intensity from beginning to end. Ferrandis happily supplied the intensity, propelling his musicians forward with a virtual whirlwind of arm gestures punctuated by a rock-steady baton. He set a tempo and kept to it, never flagging except when occasion demanded, as in the lilting melodies of the second movement. At these times, the orchestra slowed as one, then quickly accelerated to its previous beat.

Ferrandis is like a bird in flight, surveying the sonic landscape below, occasionally swooping into the various sections of the orchestra to bring them forward. The playing was exceptional throughout. The violins stayed on top of their demanding part, which ranges from intricate filigree to syncopated romp. The lower strings provided the rhythmic drive that characterizes Schubert’s symphony, coming through repeatedly with convincing and resonant lines. As for the woodwinds, brass and percussion, they blended in seamlessly, completing the glorious sound.

All in all, the performance was as much as one could ask for from a regional orchestra with a perpetually shifting cast of musicians. No matter where they come from, Ferrandis takes them all in and elicits a unified, unison sound. It’s amazing what two arms and a little upper-body movement can do.