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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, February 21, 2016
Bruno Ferrandis, conductor. Rachel Barton Pine, violin

Violinist Rachel Barton Pine

EVER WESTWARD ETERNAL RIDER

by Steve Osborn
Sunday, February 21, 2016

Like her violin virtuoso colleagues, Rachel Barton Pine can make herself heard above the din of a full orchestra without noticeable effort; but what made her Feb. 21 performance with the Santa Rosa Symphony memorable was how softly she played. Although she dispatched the forte and fortissimo passages in the Beethoven D Major concerto with élan, her intensity increased markedly the softer she became. The most gripping points in each movement were the trills and other filigrees in the upper registers, which she played on the very edge of audibility to a rapt Weill Hall audience.

Any musician can play loudly, but those who can play quietly without any loss of energy or tempo are rare indeed. By the same token, any competent soloist can play all the notes of the Beethoven concerto, but those who can make sense of them and express their meaning are few. In this department, Pine was somewhat lacking. She hit all the notes, to be sure, but her performance was occasionally choppy and lacked fluidity.

Instead of merging one phrase or musical idea into the next, Ms. Pine often separated them, disrupting the forward motion and draining some of the drama. More often than not, however, the beauty of individual passages shone through. Her cadenza for the first movement was a treat, as was the lovely duet with bassoonist Carla Wilson in the slow movement. Ms. Pine seemed finally to relax in the playful finale, which was marked by a forceful and convincing drive to the conclusion.

The applause was significant, so the violinist obliged with an encore: the Andante from Bach’s second sonata for unaccompanied violin. Here again the pianissimo was bewitching, and it combined with a steady pulse on the lower strings to ravishing effect.

More ravishment appeared in the second half, in the form of Bruckner’s unfinished Symphony No. 9. This colossal work lasts over an hour, and that’s just for the first three movements. Who knows how long it would have been had Bruckner lived to complete the finale?

Ultimately, time is immaterial in Bruckner’s final work. The structure he employs in all three movements resembles nothing so much as a series of ocean waves, beginning in a valley and rising inexorably to a peak before crashing down again. The ascents and descents are most often chromatic, with a lushly romantic aura: chromanticism. Bruckner’s technique may be chromantic, but his content is most often dark and dramatic, even sinister. He incessantly combines and recombines short motifs that lead ever onward. His quest seems to be for some deep, hidden meaning in the world of sound.

Conductor Bruno Ferrandis displayed a firm grasp of Bruckner’s score, carefully guiding his players through the various phrases, crescendos and decrescendos, accelerandos and ritards. He most often conducted with two symmetrical hands, drawing out a foreboding, intense and elemental sound.

The first movement was spine-tingling, resolving in the home key at the very peak of a wave. The intensity only increased in the second, which features a devilish seven-note figure--a triplet and four march steps on a single note--that Gustav Holst later appropriated for the Mars section of “The Planets.” In Holst, the figure conjures up the god of war, but here it seemed a symbol of onrushing fate. Again, Mr. Ferrandis and company played the score to maximum effect, creating a tremendous, fiery sound with sustained energy.

The third movement proved even more gripping. The playing was muscular and assured, and the orchestration was dazzling. The conductor kept all the iterations of the theme intact, leading to a startling dissonant chord that resolves into a serene passage at the end.

The performance was one of the Symphony’s most profound efforts in recent years, rivaling anything they’ve done in that time. An otherwise unremarkable Sunday afternoon turned into a thrilling exploration of uncharted musical territory, filled with both apocalyptic fury and rays of hope.