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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.