Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
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.