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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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