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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 14, 2015
Norman Gamboa, conductor

So Co Philharmonic Conductor Norman Gamboa

LA ROCCA'S "CROSSING" A MINIMALIST DEBUT

by Terry McNeill
Saturday, November 14, 2015

Conductor Norman Gamboa is known for innovative programming, especially with Latin-theme music, but in the Nov. 14 concert at Santa Rosa High School’s Performing Arts Hall he chose three familiar works by American composers But true to form a new piece from local composer Frank LaRocca was also in the mix.

Barber’s The School for Scandal: Overture, the composer’s first popular work, received slow tempos but had additional clarity of instrumental voices that Mr. Gamboa coaxed from the Orchestra in under 10 minutes. Scruffy string playing was offset by wonderful wind voices from Nick Xenelis (clarinet), Chris Krive’s oboe and flutist Debra Scheuerman. Barber’s 1933 neo Romanticism was well served in the performance.

Four Dance Episodes from Copland’s music for the ballet Rodeo followed, each unique in texture and excitement. In his 115th birthday role Copland’s pre-1950 works now sound more readily Americana than Gershwin or Bernstein, and the bookends “Buckaroo Holiday” and “Hoe-Down” were played with flair and just the right amount of western “swing.” The conductor controlled the fast rhythmic sections with anchored tempos, and in the “Hoe-Down” the prominent piano part (Brien Wilson) alternated with lovely deep phrases in the cellos.

There was fetching harp playing in the bucolic “Corral Nocturne” and beguiling solos from English hornist Anthony Perry.

Following intermission and the always popular wine raffle Mr. La Rocca’s 1994 orchestral suite Crossing the Rubicon was expertly played, and in a surprising blend of minimalist forms. I don’t recall a large minimalist work being played in Sonoma County, save for long ago performances of Adams’ Short Ride in a Fast Machine and possibly Reich’s Music for 18 Musicians.

First came from a lonely piccolo theme (Emily Reynolds) over short crescendos, repeated unendingly, and more intricate oboe, harp and piano solos. The long and often lyrical melodic lines and pensive character of Crossing were carefully shaped by Mr. Gamboa, spiced by marimba and robust percussion playing. Mr. LaRocca’s Crossing is an effective composition, tightly crafted but unabashedly poetic. Audience members wanting music of minimalist dissonance needed to look elsewhere.

The composer was in the audience and was recognized by the conductor and a now standing Orchestra.

This reviewer was unable to listen to the evening’s final piece, Gershwin’s Symphonic Suite from the 1937 Opera Porgy and Bess.