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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, December 13, 2008
Bruno Ferrandis, conductor; Kymry Esainko, piano soloist. SRS Honor Choir with vocal soloists Jenni Samuelson, Bonnie Brooks, Scott Whitaker, Hugh Davies

Santa Rosa Symphony pianist Kymry Esainko

A THREE-COURSE FEAST FROM SR SYMPHONY

by David Parsons
Saturday, December 13, 2008

Maestro Bruno Ferrandis, the Santa Rosa Symphony, the symphony’s Honor Choir and four vocal soloists served a hugely rewarding feast of hearty fare for our holiday delight this past weekend. Haydn’s Symphony No. 94, nicknamed “Surprise,” opened the varied program, and its elegant structure and imaginative orchestration set the tone for the whole evening.

At Saturday night’s performance, after a couple ragged entrances, the strings found their bearings in the lyrical introduction to the quick and dance-like first movement, holding off on their heavier vibrato much of the time. For the theme and variations which make up the second, “surprise” movement, the anticipation and the audience giggles which accompanied the famous sudden fortissimo chord gave way to delight with the increasingly complex variations. The third movement minuet is so quick that it feels like a rollicking folk dance, really a Ländler. Yet another “contredanse” flavor infects the energetic last movement, with the country-like mood interrupted only briefly by stormier harmonies toward the return of the main rondo theme and at the beginning of the coda. Altogether, the Haydn symphony was a perfect and ingratiating opening to the evening’s feast.

For our next course, the orchestra was joined by its principal pianist, Kymry Esainko, in Bach’s Concerto No. 1 in D minor. I wondered, when looking at the concert grand piano being rolled on the stage, how the downsized string orchestra would manage to balance with it, but from where we sat, the balance turned out to be excellent. There are those who might opt for a harpsichord to play a Bach concerto, but then the string ensemble would have to be even smaller, and thus there would be greater audibility challenges for listeners in a large hall.

Esainko and Ferrandis carefully adjusted balance to keep the piano’s lines clear when they were in lower registers. In typical Bachian fashion, the vigorous opening and closing movements evolve an immensely complex musical structure out of the tiniest motivic kernels. The haunting keyboard “aria” which forms the second movement cries out for a “sustaining” melody instrument like the violin or organ. Still, Esainko made the piano sing with a judicious use of the sustaining pedal and a sensitive feel for the elaborate ornamentation on the contours of each phrase.

The feast continued after intermission with Haydn’s “Lord Nelson Mass,” considered by his chief biographer to be “arguably Haydn’s greatest single composition.” Because of a shortage of musicians at the Esterházy court at that time, it was scored for just strings, trumpets and timpani. Haydn accepted later editors’ additions of what they perceived to be missing woodwind parts, and it was this expanded scoring that the symphony played.

In 1798 Haydn was at the height of his fame as Europe’s greatest composer, and he had an annual obligation to write a festive mass for the wife of Hungary’s Prince Esterházy. But Europe was not in a jovial state of mind, with Napoleon winning multiple battles in Austria, and even threatening Vienna itself. Haydn therefore named this a “Mass in Time of Distress.” Leading up to the September celebration when the mass was first heard, Napoleon’s possible invasion had been at least temporarily overturned by Admiral Horatio Nelson’s defeat of the French fleet in the Battle of the Nile. Nelson visited the Esterházys two years later, and may have heard the mass performed again at that time. According to legend, Nelson asked Haydn for the pen with which he had composed the mass, in exchange for a golden watch. Thus the nickname “Lord Nelson Mass.”

The mood of foreboding that hung over Europe shadowed even Haydn’s usually sunny outlook in this, his only mass in a minor key. The trumpets have key roles in almost all the movements, sounding their alarms. The Kyrie is the keynote of this tone of fear in the face of disaster. The Gloria is a relief from these terrors, and its tone of exultant praise reflects Haydn’s simple and clear faith in the God who is above the dangers of the world. Even in the Gloria, however, after its optimistic opening, the music shifts to a cautious E minor at the words “et in terra pax—and on earth peace.” Likewise, the bass solo beautifully sung by Hugh Davies at “qui tollis peccata mundi—that takest away the sins of the world” begins with B-flat major, but does not take long to shift to G minor and D minor at the words “miserere nobis—have mercy on us.”

In the canon that begins the Credo, the altos and basses repeat exactly the music sung by the sopranos and tenors. It is a Bachian sort of device, an ingenious way of providing reinforcement for the statement of belief. The most dramatic and ravishing part of the Credo is the lovely soprano solo “et incarnatus est—and he was made incarnate,” to demonstrate the idea that God took on human form and lived on earth—the center of the Christmas story. Here, soprano Jenni Samuelson’s singing provided an especially poignant moment.

In other masses, the Benedictus is often relatively inconsequential, but in this mass it becomes a grand procession for the heavenly messenger “who comes in the Name of the Lord.” We are back in D minor, and the trumpets again sound their ominous warning, reminiscent of the Kyrie, but finally the specter of war vanishes with the jubilation of D major, in “Osanna in excelsis.”

Soloists Jenni Samuelson, Bonnie Brooks, Scott Whitaker and Hugh Davies had an extended chance to shine in the Agnus Dei, an intimate and personal prayer for mercy. At the soloists’ last notes, the choir’s demeanor brightened, and then, with but one quick beat to take their breath, the altos launched the choir into the vivacious “Dona nobis pacem—grant us peace.” The depths of despair in the Kyrie lead to the confidence of peace at the end of the mass. We may be in times of distress, but there is always hope for the future.

Phebe Craig played the organ continuo for the mass, though she was not noticed in the program. Regrettably, from our seats her small chamber organ was inaudible except for one or two moments when accompanying solos. Perhaps a bigger instrument would better suit the need in such a large hall.

I find it hard to argue with those who feel that the “Lord Nelson Mass” is Haydn’s finest work. Ferrandis, the symphony, the Honor Choir and the soloists are to be saluted for this worthy conclusion to a splendid holiday feast.