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Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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 REVIEW
Sonoma County Philharmonic / Sunday, April 10, 2016
Norman Gamboa, conductor. Marilyn Thompson, piano

Pianist Marilyn Thompson April 9 Acknowledging Applause

SPANISH SPLENDOR IN SO CO PHIL'S SEASON FINALE CONCERT

by Terry McNeill
Sunday, April 10, 2016

Two program staples for the Sonoma County Philharmonic have been works of a Latin flavor, and spotlighting local soloists. Conductor Norman Gamboa has mounted intriguing Central American, Mexican and Spanish works for years, and flutist Kathleen Lane Reynolds, pianists Alice Zhu Lauren Xie, and trombonist Bruce Chrisp have recently been featured.

So it was no surprise at the April 9 concert in Santa Rosa High School that these worthwhile trends continued, with pianist Marilyn Thompson playing virtuoso parts in Falla’s “Nights in the Gardens of Spain” and as an orchestra member in the same composer’s Suite from the revised 1924 edition of the ballet El Amor Brujo.

In the “nights” performance Mr. Gamboa gave the shimmering score a mostly relaxed tempo character, the acoustics of the bright hall favoring orchestra power over the piano part. Ms. Thompson had fetching short duos with violist David Hill but all through the 25-minute work the piano sound, save for the top treble, lacked brilliance against the often too loud orchestra.

In the concluding “En los jardines de la Sierra Córdoba” there were extended orchestral solo parts, eerie tremolos and explosive sforzandos for both piano and orchestra, and the soloist’s most convincing playing. This music evokes fragrant Spanish colors, and Mr. Gamboa fashioned slight hesitations in the beat that accented the rhythms. The long slow coda was played luminously.

Falla’s brilliance as an orchestrator can be spoken of in the same breath as Ravel and Shostakovich, and his 1917 Suite from the ballet El Amor Brujo was a riot of pungent sound in twelve parts, with three short vocal solos. The composer chose interesting duos to expand the sonic fabric, including oboe and trumpet (Chris Krive and Tom Hyde), Valerie White and Debra Scheuerman’s flutes and clarinetist Nick Xenelis. All evening Mr. Krive played elegant solo parts, often stating main themes. A honeyed sound from the middle of the orchestra.

In this sonic feast there were lush lyrical sections (En la Cueva, A Media noche) that Puccini would have appreciated, the piano sounding like chimes, cellist Margaret Moores’ solos and a one-time solo by concertmaster Pam Otsuka. As in the Santa Rosa Symphony’s April 4 concert that featured Falla’s “El Sombrero de Tres Picos,” the short parts here for a singer don’t seem to add much to the mix. Soprano Carmen Mitchell’s expressive voice wove in and out of the orchestral fabric, catching the dry and sporadically piercing pitches of Falla’s Andalusia inflection.

Mr. Gamboa has a penchant for these colors and rhythms, which carried over to two short works with definite Spanish flavor that contrasted well with the big Falla works: Turina’s La Procesión del Rocio, Op. 9, and Gerónimo Giménez’ Intermezzo from La Boda de Luis Alonso (The wedding…). Both are often included as openers to programs of Spanish music, and both received glowing and theatrical readings under Mr. Gamboa’s command.

The Turina was perhaps the least Iberian work of the concert, but no less sassy and brassy for it. An opening long flute solo over snare drum obbligato was taken by the conductor at a leisurely pace, capturing the “procession” of the music in a gallant way.

Gerónimo Giméniz specialized in the Spanish zarzuela dance style, and the “Boda” was a barnburner piece that hints of his contemporary Francisco Tárrega’s Castilan compositions, with rapid changes in tempos and snazzy castanet sounds. This music quickly grabs your attention and elicits some bodily “swing” in a short ten minutes. It’s hard to remain motionless when each delicious repetition returns with greater flair.

In remarks to the audience of 300 the conductor mentioned that earlier in the day parts of the concert’s pieces were played before a packed hall of Santa Rosa school children in outreach, with a large portion of them Spanish speaking and enthusiastically cheering. In the more formal evening performance the playing delightfully brought similar responses.