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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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