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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
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
CHAMBER REVIEW
Mastercard Performance Series / Friday, March 18, 2016
James Galway and Jeanne Galway, flute. Michael McHale, piano; the Galway Chamber Players

Flutist James Galway

INSOUCIANCE AND VIRTUOSITY IN GALWAY'S BRILLIANT WEILL HALL CONCERT

by Mark Wardlaw
Friday, March 18, 2016

The man with the golden flute brought inimitable Irish charm and sterling musicianship March 18 to Weill Hall for a delightful concert experience. Sir James Galway, joined by flutist Lady Jeanne Galway and pianist Phillip Moll, enthralled an appreciative audience with a colorful array of musical morsels ranging from serious works to lighthearted fare, including one that required audience participation.

Mr. Galway’s musical journey is unique, and even at 76 it appears far from over. This is an artist who rose from working-class Belfast roots to the upper echelon of the flute world by landing jobs in the London Symphony Orchestra and the Royal Philharmonic Orchestra, eventually winning the principal flute chair in the Berlin Philharmonic, one of the world’s great ensembles, when he was 29 years old. Very few musicians would walk away from so lofty a position, but Galway isn’t just any musician, and he left that orchestra after only six years. Even that august position proved to be an insufficient showcase for the eclecticism and showmanship that have made him one of the top instrumental artists in the world.

Mr. Galway’s impish wit and droll delivery signaled from the outset that this wasn’t going to be a perfunctory affair. It’s obvious that he places a high premium on bringing the audience into his world. He engages his audience in a genuine and down-to-earth way. This is seldom the case in classical music concert halls that all too often are steeped in formality and sterility.

The concert opened with “In Ireland Fantasy” by Hamilton Harty, and we were immediately reminded of why Galway is so revered. That sound! Galway produces one of the most luminous and instantly recognizable sounds in the wind-playing world. The quality and character of his tone is remarkably consistent through all three registers; even his rich low register projected easily over Weill’s concert piano at full lid. He also is able to conjure the softest entrances imaginable, with releases that are remarkably controlled and nuanced. His breath control is nothing short of astounding. Did I mention that he’s 76 years old?

Before launching into the two hour program’s second offering – Fauré’s dazzling and formidable “Fantasie,” Mr. Galway took the microphone, as he did before every piece, to give the audience some background and, of course, some of his trademark humor. He described this work as having “a virtuoso second part which I’m still struggling with…but don’t tell anybody at the Conservatory.” Phillip Moll, the flutist’s pianist for forty years, was stellar on this work, as he was all evening.

Next came a lovely arrangement of Debussy’s “Claire de Lune,” but first the artist explained that Democracy is important in music, especially in an orchestra. He hummed a few measures from Mozart’s “Marriage of Figaro” at its correct, breakneck speed. “The orchestra starts it there (at that tempo). Then it becomes this.” He hummed it again, this time much slower. Almost winking, he stated, “See, that’s Democracy.” He went on to offer how his programs also come together democratically. “It all happens in my office. My wife and secretary make the decisions, and then they tell me what I’m playing.”

Mr. Galway then was joined by Ms. Galway for Franz and Karl Doppler’s nimble arrangement “Rigoletto Fantasie for Two Flutes.” Their crisp ensemble and light-hearted interplay were charming and musically satisfying, with both flutists displaying abundant technical mastery. The artist finished the first half with his brilliant arrangement of music from Bizet’s “Carmen.”

The second half featured shorter and lighter works. Mr. Galway was very effective in the final song from David Overton’s “Three Irish Folk Songs” when he captured the unmistakable and mournful character of Uilleann pipes. In Howard Shore’s “Lord of the Rings” (arranged from the orchestral score by the composer) the flutist played the kind of music that is largely responsible for his spectacular worldwide popularity and success. Among his many gifts is his ability to play simple and straightforward music with sincerity, beauty and honesty. He never casually “tosses off” any piece of music. His supreme artistry is apparent at all times. He programs for the whole audience, and does so without any hint of pretense. The inclusion of Mancini’s “The Pink Panther, “ Pennywhistle Jig” and “Baby Elephant Walk” (the last two played on tin whistle) speak volumes about Mr. Galway’s philosophy of including something for everyone.

Ever the generous performer, Galway treated us to the encores. First he brought back his wife for a “new piece by Mozart, recently discovered on his fax machine” that turned out to be the well-known “Turkish March.” He then comically sifted through quite a few pages of photocopied music, arranged it carefully on his stand, and then proceeded to fumble his way through the performance. But it didn’t matter. The audience ate it up. Order was restored for the finale, a virtuosic arrangement of the folk tune “Carnival of Venice.” Mr. Galway was back to his usual phenomenal self, executing each of the dizzying variations as perhaps no one else can.

Finally there was the obligatory "Danny Boy," lovingly rendered despite the fact that the artist has played the tune countless times. The pianissimo "A" at the climax of the tune was perhaps the most sublime moment of the evening, and the final phrase lingered poignantly.