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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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.