Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
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...
SYMPHONY REVIEW
Marin Center / Saturday, March 12, 2016
Polish Baltic Philharmonic Orchestra. Boguslaw David, conductor. Marcin Koziak, piano; Agata Szymczewska, violin

Polish Baltic Philharmonic Orchestra

BEETHOVEN'S SYMPHONIC DRAMA PERVADES POLISH ORCHESTRA'S MARIN CONCERT

by Terry McNeill
Saturday, March 12, 2016

European orchestras on an American tour face a pesky single concert program decision – popular or provocative repertoire? The Polish Baltic Philharmonic landed squarely March 12 on the first option, a conventional all-Beethoven afternoon.

A Marin Center audience of 900 in San Rafael heard the 55 musicians from Warsaw in the concert’s opening Egmont Overture, Op. 84. It was a performance that caught the somber drama of the nine-minute work, and drama was the operative word for the entire concert. Acoustics in the fan-shaped hall always sound to me direct and with minimal reverberation, and strong upper string power in the Egmont often covered cellos and basses.

Conductor Boguslaw David moved the Overture briskly, and that tempo continued with the E-Flat Piano Concerto, Op. 73, that closed the first half. Marcin Koziak gave an impressive but mostly routine reading of the solo part. Performances of the “Emperor” Concerto seem to fall between the architectural and fastidious, and the heroic and heaven storming. My interest has always centered on the latter, and Mr. Koziak’s view this day stressed the symmetry and cohesive aspects of the score and left sonorous voice leading and pianistic energy alone. Heavens were never approached.

In the Allegro the music proceeded in an animated manner with Mr. Marzin playing half-pedaled runs, fast trills, several intriguing inner voices and the less than ferocious 12 big repeated chords mid way. Duos with oboe and bassoon were lovely, and the horn volume was assured. The short cadenza with bright three-note trills led into a fast-paced long coda where horn color was foremost and dramatic impact was robust.

Mr. David moved along the spiritual Adagio in many long descending phrases that on balance needed more relaxation between cantabile and the many short crescendo sections.

The same approach continued in the finale, the pianist sticking to the score (no leaning on ritards or left-hand octave doublings) and the conductor staying safe with a stable tempo and smooth orchestra textures. It was a well-rehearsed and convincing “Emperor” that had a taste of the prosaic.

Histrionics are part of the monumental C Minor Symphony (Fifth), and Mr. David drew from his Orchestra a performance that was both muscular and impeccably played. Conducting from score as he did throughout, Mr. David’ s driving interpretation highlighted the compressed themes and sharply etched groups of the three famous quick notes and the one that is louder, longer and lower in pitch. The character here was urgent and violent. Though never really quiet, the second movement’s best moments were with the interplay of soft, long-held notes from the oboe, flute, clarinet and bassoon. Sitting stage right, the cellos finally were heard with their inherent richness. The conductor’s control of dynamics was deft and always careful.

In the final two Allegro movements, especially the last one, the march-like rhythms held sway and the many false cadences demonstrated the composer’s genius of extravagant symphonic power and mastery.
Mr. David is not a flamboyant conductor in physical podium movement, but he kept the boisterous finale away from raged attacks and releases, and thus the impact on the audience was predictable but no less potent.

A rainy afternoon moved some in the spacious hall toward a quick exit, but the conductor commandeered a stage microphone and in flawless English spoke about the Polish’s 42-concert US tour and the delight his ensemble was having with making music in so many venues. An encore followed, a minor key Dvorak waltz that was over too quickly.

Mr. David coquettishly said from the stage that there would be one more, and that it would be familiar. And it was, a raucous performance of Souza’s Stars and Stripes Forever that generated an additional standing ovation.