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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.