SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis
in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns.
Conductor Norman Gamboa pr...
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100.
The crowd numbers were unusually low due to a ba...
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music. Of the surprisingly large array of festivities there, one of t...
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...
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 ...
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...
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.
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...
Pianist Stephan Prutsman
ANGUISH AND TRIUMPH IN MENDOCINO FESTIVAL'S BIG TENT
by Kayleen Asbo
Sunday, July 10, 2016
The Mendocino Music Festival is highlighting Beethoven this summer, and July 10’s program in the tent could have appropriately borrowed the subtitle from Jan Swafford’s 2014 biography of the composer, Anguish and Triumph.
The Festival’s second classical concert paired two Beethoven works with Tchaikovsky’s brooding Fifth Symphony in E Minor, Op. 64. It was an apt pairing, showing both sides of the two mercurial composers, each of whom were both plagued by acute despair, struggled through enormous life challenges, and used music autobiographically to wrestle with their demons and chart a course towards renewed hope and confidence.
The program had a rousing start with the jubilant finale of Beethoven’s A Major (Seventh) Symphony, Op.92. Written at the apotheosis of his fame and fortune, this symphony was during Beethoven’s lifetime one of the most celebrated and cherished of his compositions, with movements frequently repeated in performance, excerpted to stand alone, and even inserted into other symphonies. The brisk tempo and passionate, climactic crescendo (supported ably by the stirring tympani) set the tone for the concert: this would be an evening of bold gestures and dramatic contrasts.
Pianist Stephen Prutsman then performed the Beethoven Third Concerto, Op. 37, to exuberant applause. Clearly well beloved by the Festival audience, his affable smile showed him to be confident and at ease in approaching this pivotal work. Written in Beethoven’s “fate” key of c minor (the same key of his iconic Fifth Symphony), the dark and ominous opening was crisply articulated by the strings before the theme was boldly proclaimed in brass. Mr. Prutsman’s initial pianistic entrance stressed the heroic aspect of the composer’s musical personality before giving way to gossamer trills and delicate arpeggios. The alternating “velvet and steel” approach was particularly effective in the developmental section as a rising wind began to whip around the performance tent, adding outside drama. If technically there were some moments of stumbling in the challenging cadenza, there were also moments of great beauty, as when Mr. Prutsman lavished deep tenderness on the gorgeous second theme.
Though orchestra and soloist needed more communion and perhaps eye contact in order to be in sync with one another at the end of the pianistic runs, the conclusion of the cadenza brought them together. Beginning sotto voce they rose in urgent unison to deliver a stirring and effective climax.
As in the previous day’s concert of Bach, the most sublime moment of the versatile Mr. Prutsman’s performance was damaged by noise beyond his control. The opening of the pensive Largo was a soulful model of exquisite gentleness. Stretching the outer reaches of the score’s slow tempo and pianissimo markings, Mr. Prutsman poured his soul into the opening melodies. Tragically, the coughing, rustling and talking of the audience, combined with the mounting stirring of the wind rattling the tent, meant that some of the most delicate and inward moments that followed were simply inaudible. What was clear was the ethereal and shimmering Arpeggios of the middle section as a floating melody was passed lovingly back and forth between flutist Mindy Rosenfeld and bassoonist Carolyn Lockhart with grace and loveliness. The movement was brought to a serene close with almost hymn-like solemnity.
The playing in the concluding good-natured Rondo offered a peasant-like contrast to the tender fragility of the second movement. Mr. Prutsman showed the giocoso side of his pianistic personality with athletic energy, good humor and almost comedic dynamic contrasts. The finest ensemble playing of the Concerto occurred in the virtuosic finale, showing how capable Mr. Prutsman can be with sparkling passagework as the driving momentum of the coda brought the delighted audience cheering to their feet.
After intermission the Festival Orchestra took on the challenge of Tchaikovsky’s mighty Fifth. This piece was written in 1888 during a period of mid-life despair, and could be titled “Though the Dark Woods”. The repeated use of a “fate” motif is one of Tchaikovsky’s links with Beethoven. The persistent “march of doom” is re-iterated over and over, swelling and transforming to a harrowing and brilliant fanfare of brass and tympani before returning once again to darkness and obscurity. The orchestra achieved a beautiful tonal balance throughout, at times haunting, at other times blazing with power and passion. Once again bassoonist Ms. Lockhart stood out for her expressive playing.
The second movement begins with one of the most poignant horn soloes in all of the orchestral literature. The frequent swelling crescendos and unresolved harmonic sequences, a hallmark of the composer, were awash in swooning Romanticism.
The third movement (Scherzo, Pizzicato Ostinato) requires lightening orchestral quickness and exact precision in instrumental sections. Beginning as a graceful waltz, the scurrying passagework is played pianissimo in the strings and had echoes that are reminiscent of the lyric sweep that characterizes the composer’s Ballet “Sleeping Beauty” from 1890.
The finale transforms the “fate” motif almost violently into a major key. Here conductor Allan Pollack drew a shimmering sonority from the orchestra, building an accelerated momentum with playing that had intense energy and commitment. Rapid tempo changes were exact and the Symphony ended in a blaze of glory.
It has been twenty years since I last heard the Festival Orchestra, and it’s playing now is far more professional. Mr. Pollack was visibly pleased with the Festival Orchestra performance, beaming at the players between movements, and the ecstatic “bravos” from the audience were boisterous amidst the second standing ovation of the night.