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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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.