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Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
SYMPHONY REVIEW
Sonoma County Philharmonic / Sunday, January 24, 2016
Norman Gamboa, conductor. Bruce Chrisp, trombone

Trombonist Bruce Chrisp

SOLO AND ENSEMBLE BRASS PEAL POWERFULLY IN SO CO PHIL CONCERT

by Terry McNeill
Sunday, January 24, 2016

Known for its novel programming, the Sonoma County Philharmonic has frequently engaged local soloists, with flutist Kathleen Reynolds and pianists Lauren Xie and Marilyn Thompson coming quickly to mind. In their Jan. 23 concert, featuring German composers, conductor Norman Gamboa united a rare mid 19th mini concerto for trombone with another Sonoma County soloist, Bruce Chrisp.

Playing the Ferdinand David Op. 4 Concertino, Mr. Chrisp gave the 1841 piece a convincing performance without score before 250 in the Santa Rosa High School’s Performing Arts Center. His control of the seemingly unwieldy instrument was surefooted, even when the notes jumped from the low register to repeated and drawn-out high pitches. Thematic statements were boldly projected and the pesky trills confidently attacked.

There was no break between the Allegro and the melodramatic Andante and Mr. Chrisp was impressive in swelling volume in the low register and the beautiful long-held note at the end of the movement.
Most of the audience held their breath until the note stopped.

Music in the concluding Allegro was a little operatic in places, tuneful with a predictable cadenza and a heroically played ending from the soloist. Respond to loud bravos, Mr. Chrisp accepted a bouquet and impishly stick it into the horn of his ineffable instrument.

Brahms’ E Minor Symphony (Op. 98) closed the concert, a conservative format work composed at the time of Wagner’s symphonic radicalism and Mahler’s first Symphony. It may be “old fashioned” in style but its beauty and craftsmanship are beyond reproach. Horns are critical in the opening Allegro and Mr. Gamboa gave the SoCoPhil’s horn quartet, led by Eric Anderson and Bruce Blaikie, full rein. The lovely opening themes were played invitingly and in a dialogue between the first and second violins. Woodwinds (clarinetists Nick Xenelis and Cathy Brooks) and pizzicato strings played a vigorous variant of the first theme under Mr. Gamboa’s restrained direction.

This trenchantly grim movement came to a close with timpanist Walt Bodley’s powerful strokes, and the slow movement began with idyllic music from the horns, and later from flutists Emily Reynolds and Debra Scheuerman. The cutoffs were good and the conductor’s control developed the majesty of the writing.

In the third movement Ms. Reynolds’ piccolo and Mary Gillespie-Greenberg’s ringing triangle made the ever-changing harmonies in a rambunctious Scherzo sound almost giddy.

Brahms wrote a powerful Passacaglia to close his Fourth Symphony, using a form of variations (32 in all) on a repeated bass or reiterated harmonic progression. Woodwinds and brass (now joined for the first time by trombones) are prominent, with rolling drums, and Mr. Gamboa had his hands full keeping continuity and clarity in the tempo changes. There is passion and release in this movement, all driving to a conclusion that blanketed some of the string sounds. The ovation was long enough for the conductor to recognize individual musicians and one section.

Weber’s Overture to the 1824 Opera “Oberon” opened the program, a merry and suave ten-minute work that lacked string power but featured potent brass playing.