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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
Santa Rosa Symphony / Sunday, January 10, 2016
Mei-Ann Chen. conductor. Caroline Goulding, violin

Violinist Caroline Goulding

PURE GOLD FROM CAROLINE GOULDING AND SANTA ROSA SYMPHONY

by Steve Osborn
Sunday, January 10, 2016

Could Mei-Ann Chen be a candidate to replace Bruno Ferrandis at the helm of the Santa Rosa Symphony when his contract expires at the end of the 2017-18 season? If so, she would be a strong contender. Her impressive guest conducting at the orchestra’s Jan. 10 concert at Weill Hall in Sonoma State’s Green Center was overshadowed, however, by a staggering performance from the young violinist Caroline Goulding, who played the Tchaikovsky Violin Concerto to perfection.

Goulding is the most impressive violin soloist this reviewer has heard since Hilary Hahn burst on the scene more than 20 years ago. Goulding’s technique is impeccable, her intonation superb, her bow arm a wonder, and her fingers anatomical marvels. Her musicianship, however, is what sets her apart from her many technically gifted colleagues.

Barely into her 20s, Goulding plays like a seasoned musician, alert to all the subtle nuances and possibilities of the music. No matter how many fully articulated notes fly off her violin, the important ones always come to the fore. The phrase always takes precedence, and the sound is consistently gorgeous.

With her mop of curly blond hair and a red dress, Goulding looked like a pillar of fire capable of igniting anything she played. The only blemish to her otherwise radiant appearance was a music stand with a score. One can only guess how much more engaging her performance would have been without that memory aid. (To be fair, Goulding is performing violin concertos by Beethoven, Bach, Mozart, Mendelssohn, Sibelius, Glazunov, Paganini, Prokofiev, Bruch, and Ligeti during her jam-packed 2015-16 season, to say nothing of multiple recitals and other performances.)

In the Tchaikovsky, Goulding displayed an elegant, room-filling sound from the outset, easily bringing the softest passages to the remotest corners of Weill Hall. Her body was in constant motion, crouching forward during the virtuosic passages and swaying from side to side during the emotive ones. Her tone was exquisite, even in the highest registers and the many harmonics called for in the score.

Meanwhile, Chen had the orchestral dynamics firmly in control. The orchestra never once overpowered Goulding, and their playing in the softer passages was well below pianissimo. Both Chen and Goulding took their time, letting phrases linger before transitioning to the next. Goulding’s cadenza in the first movement was stupendous, as complete a musical experience as one could wish for.

Goulding, Chen, and the orchestra sustained the same high level of musicianship throughout the concerto. The fireworks of the first movement gave way to the delicacy and luxuriance of the second and then the awe-inspiring dances of the third. The standing ovation at the end was sustained but sadly produced no encore. Nonetheless, we’re sure to hear from Goulding again.

Earlier, Chen set the mood for the afternoon with an invigorating performance of contemporary Chinese composer An-Lun Huang’s Saibei Dance. The melodies, inspired by Chinese folk songs, were sprightly, and the orchestration was inventive; but it was all over in four minutes, barely enough for a taste.

The second half offered a better opportunity to observe Chen’s conducting skill, with a performance of Dvorak’s Symphony No. 8. Chen led with economical movements and an easy-to-follow beat. The musicians appeared to be well-rehearsed, with good unison playing from the strings and excellent balance between the orchestral sections.

The performance of the first movement was energetic, but the full sound of the orchestra didn’t emerge until the second, where sharply delineated phrases and assured pace led to full resonance and shimmering beauty. The graceful waltzes of the third movement were taken a bit too slowly, but individual sections were often serene.

All the stops came out in the finale, which the trumpets announced with a stirring fanfare. The low strings maintained that energy, and the atmosphere became supercharged when the full orchestra joined in, with standout playing by principal flutist Kathleen Lane Reynolds. Although not as magical as the Tchaikovsky performance, Chen got everything she wanted out of the players, and then some.

Reprinted by permission from San Francisco Classical Voice