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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, April 04, 2016
Bruno Ferrandis, conductor.. Zuill Bailey, cello; Bonnie Brooks, mezzo-soprano

Conductor Bruno Ferrandis

COLORFUL FALLA AND PROVOCATIVE BRITTEN WORKS IN SRS WEILL HALL CONCERTS

by Terry McNeill
Monday, April 04, 2016

Current fashion in orchestra season marketing showcases themes, and it’s de rigueur now, from the fledgling Sonoma County Philharmonic to the august San Francisco Symphony. Some of these themes are inane, but the Santa Rosa Symphony’s set of three concerts beginning April 2, with the event title “Rhythmic Vitality,” was singularly appropriate.

In the April 4 Weill Hall concert Britten’s Cello Symphony (Op. 68) and Falla’s complete music from the ballet “The Three Cornered Hat” had rhythmic interest by the truckload. With cellist Zuill Bailey performing the demanding but often introspective solo, the Britten work from 1963 was provocative. It’s constructed in an unusual format of four movements, the final two linked by an instrumental cadenza, and though loved by virtuosos it has not been popular with the public.

Mr. Bailey made a strong case for the Symphony, working with conductor Bruno Ferrandis to considerable effect. It needs to be said that this is a difficult piece to initially like, and much audience reaction in the lobby at intermission seemed to confirm this. Surprisingly the soloist used both a microphone and a score, playing much of the work with little vibrato that allowed the upper register partials to clearly sound. One needed to look elsewhere for easy tunes, and Mr. Bailey, who I have admired in recent Napa and San Rafael performances, was at his best in the ruminating first-movement phrases and slashing attacks over flute and bassoon parts, and a knockout cadenza. From a balcony seat the cello tone sounded muddy and indistinct at places, contrasting with the lucid and sonorous orchestra.

Much low-drone cello playing and extended vibrato was heard in the short Presto and and the musical sun came out in the finale. Here the music rises to a luminous finish, and perhaps audience comprehension leading to a standing ovation.

Falla’s wonderful 1919 Ballet score received a performance of orchestral color and sparkling effects. The audience of 950 seemed to physically move with the unfolding of piquant Andalusian folk tunes and brassy sway, something foreign in the Britten. The music throughout suppresses string importance (save for bass and cello) and is a tour de force for winds. There was lovely playing from the clarinet (Roy Zajac), bassoon (Carla Wilson), oboist Laura Reynolds and Stacy Pelinka’s piccolo.

Mr. Ferrandis drew some exceptional Spanish colors from his orchestra, shaping the clarinet and harp (Dan Levitan) duo, the abbreviated piano parts and a scintillating pizzicato accelerando in the Sequidillas section. This piece needs the sure hand that Mr. Ferrandis has, always the picture of control and energy on the podium. The two passages for voice, totaling just 85 seconds, were sung by mezzo-soprano Bonnie Brooks, and past without much notice in the lush 40-minute composition

Opening the concert was New York composer Daniel Brewbaker’s Blue Fire, a 15-minute exploration of contrast and instrumental tint. The composer was in attendance and took three curtain calls, and spoke elegantly during the pre-concert talk alongside Mr. Bailey and Mr. Ferrandis. The 2013 premiere was at a Napa Valley summer festival

As with many freshly-minted orchestra works, it was heavy with loud timpani and brass, but there were rhapsodic and lyrical sections with echoes of Bernstein and movie scores. Movements (I counted two) are constantly shifting, with standout parts for tuba (Scott Choate), Ms. Reynold’s oboe and Mr. Zajac. The percussion and timpani sections were busy and chimes and marimba parts were distinct, unlike an inaudible piano part. Often in newer music the pianist can be seen but not heard.

Blue Fire ended with a long and orderly climax in the strings, a counterpoint to the frequent previous offbeat brass phrases and insistent incisive rhythms. As with the balance of the program it was Mt. Ferrandis’ triumph, his diligent command directing every facet of the music.