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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...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
SYMPHONY REVIEW
Sonoma State University Symphony Orchestra / Friday, December 11, 2015
Alexander Kahn, conductor. Marilyn Thompson, piano

Alexander Kahn and Marilyn Thompson Dec. 11

THE LITTLE ORCHESTRA THAT COULD

by Terry McNeill
Friday, December 11, 2015

Hearing a symphony’s inaugural concert is a special event, and the Sonoma State Symphony Orchestra Dec. 11 launched what should be a prosperous musical life with a Weill Hall concert. The University Music Department has had permanent chamber, band and jazz ensembles, but never a flesh-in-the-blood orchestra. Now they do.
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On paper Composer John Corigliano’s "Voyage" seemed a unique opening, but the eight-minute version for strings passed without much notice or interest. It’s reminiscent of Hovhaness and conductor Alexander Kahn led effectively with the music never rising about a mezzo piano. Eschewing the excitement of a lively season overture, it was an odd choice for a gala event.

Mozart’s D Minor Concerto, K. 466, was another matter, and pianist Marilyn Thompson joined the mix in a scrappy but ultimately satisfying reading of the work from 1785. Listeners wanting pitch-perfect playing with sharp attacks, cutoffs and integrated instrumental entrances would not have found it here, but the sonic balances were good and after the initially unsteady Allegro chords the masterful Mozart drama unfolded well.

Playing from score Ms. Thompson adopted an understated approach to the solo part, preferring elegance to high drama, and here and in the concluding movement played the cadenzas by Adolph Baller. Many (Alkan, Brahms, Beethoven, Busoni) have written cadenzas for the 20th Concerto, and I found Baller’s to be idiomatic and in places provocative, with sharp and unexpected modulations. The Romanze was performed with only limited use of rubato, and Ms. Thompson’s refined playing in the finale was her best of the evening. Marie Vizcaino was a splendid oboist, contrasting with a sporadically overly loud timpanist.

Following the shortest Weill Hall intermission in memory the concert concluded with Beethoven’s First Symphony, the Haydnesque one in C Major (Op. 21) from 1800. The opening “question and answer” pair of chords for winds, horns and plucked strings immediately caught my attention, with cadences that then emerged fully formed in focused playing of the small ensemble of 25. Mr. Kahn drew a good performance throughout, especially in the Menuetto: Allegro where there was welcome section clarity. At times in rapid upward passages the high string notes were blurred, something that will surely diminish with more performances.

Applause at the end was loud and often boisterous, as colleagues of the student musicians yelled for their favorites, and the conductor was returned three times to the stage.

Prior to the Corigliano Mr. Kahn, recently appointed to the SSU faculty, addressed the audience of 300 at length regarding the gestation of the Orchestra and opportunity to join a music department of increasing importance with the Green Center’s halls as a resplendent venue. At a post-concert reception the conductor told of plans for a May, 2016 concert, and the expectation of subsequently four concerts per season. That is a pleasurable prospect for North Bay music lovers.