Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 23, 2016
Festival Orchestra and Chorus, Alan Pollack, conductor

Conductor Alan Pollack

BACH'S MIGHTY MASS ENDS MENDOCINO FESTIVAL

by Paula Mulligan
Saturday, July 23, 2016

For the final concert of the Mendocino Music Festival July 23 Alan Pollack conducted the Festival Orchestra and Chorus in just one work, Bach’s B Minor Mass.  The orchestra, much reduced in size to suit the needs of the sparser scoring and the character of the composition’s period, ably supported the nearly 100 singers that had been prepared by chorus master Carolyn Steinbuck. 

The singing parts are complex and demanding, and much rehearsal was evident.  The singers included the Mendocino College Masterworks Chorale (directed by Les Pfutzenreuter) that recently performed the Mass in Ukiah, and two Mendocino coast choruses directed by Jenni Windsor and Cynthia Frank.  Having studied and learned the music in separate venues the three groups came together under Ms. Steinbuck’s direction and became this season’s Festival Chorus.  They did an impressive job with a difficult work.  Their intonation was very good with a few exceptions when some of the high notes in the soprano section tended to be slightly flat, they sang admirably, responding to Mr. Pollack’s dynamic contrasts which made the work come alive.

The Mass opens with a rousing Kyrie Eleison with no introduction before the singer’s entrance. The initial plea for mercy had both urgency and an imploring quality.  The orchestra here was primarily strings, with the two oboes d’amore tunefully supporting string choirs with a lovely counter-melody.

The soloists were highly professional in their performance.  The original second soprano was unable to perform, and just two weeks ago Bethany Coffland, who sang the alto solos, was asked to do the second soprano solo and duets as well.  Her warm and flexible tone was a pleasure to hear, and even the higher parts were sung without strain.  Her duet with Aurelie Veruni in the Christe Eleison was balanced and finely crafted. The cello continuo was played authoritatively but always subtly by Stephen Harrison, and the echo effects of forte cello phrases repeated softly supported the singers. The second Kyrie began with a strong statement from the tenors and basses, restating the urgent plea for mercy. This was followed by a joyous Gloria featuring piccolo trumpets, particularly the baroque trumpet played with great clarity by James Rodseth, and the timpani played by Tyler Mack.
 
The Laudamus te (We praise you) was beautifully sung by Ms. Coffland with Roy Malan playing a captivating violin obligato that used very little vibrato in keeping with the sound of the Baroque style.  The strings overall kept a smooth almost glassy tone that stayed within that style.  This was followed by the Gratias agimus tibi (We give thanks for your great glory) that again began with a strong statement by the men’s voices included a rousing crescendo in the whole chorus.  Domine deus featured a duet with the first soprano and tenor Brian Thorsett, whose voice seems ideal for sacred music with its lucid clarity.  A flute solo was played gorgeously by Mindy Rosenfeld that not only supported the singers but was clearly an integral part of the sound.

Qui tollis peccata mundi (Who takes away the sins of the world) is another minor key choral section which prominently featured flutes and strings but ended on a hopeful major chord.  Qui sedes at dexteram patris (Who sits at the right hand of God) was an alto solo by Ms. Coffland in her own range, and her warmth of her tone was a pleasure to hear, as was her duo with Thomas Nugent’s oboe d’amore. Quoniam tu solus sanctus (You alone are holy) introduced the bass voice of Paul Thompson whose mellow sound was supported by two bassoons and horns (led by Bill Klingelhoffer).  The first part of the performance concluded with the chorus rendition of Cum sancto spiritu (with the holy spirit).

Following intermission the the Credo (Apostle’s Creed) was heard with an orchestral introduction reminiscent of parts of the Mozart Requiem, and one is reminded that Bach was the composer on whom many subsequent composers built their compositional style.  It was gently pulsing and insistent, again with that transparent sound that so suits the sacred music of this time. The chorus followed this with a bright and outraged Crucifixus (He was crucified for us) featuring trumpets led by Mr. Rodseth.

Mr. Thompson was again heard in the last part of the Credo, stating the beliefs of the faithful. Underlying this was  a duet by oboe d’amore players Nugent and Beth Aiken, and the sound was prominent and fluid.  This instrument has a less nasal sound han the modern oboe.   Bassoonist Carolyn Lockhart combined the continuo part with Stephen Harrison that added a special  quality augmenting this duet. The Sanctus section included two choral components, the first containing smooth triplets that flowed throughout the chorus.  Here the supporting strings were reminiscent of the music of Bach’s Brandenburg concertos.

Concluding the Mass were the Osanna, Benedictus, Agnus Dei and Dona Nobis Pacem.  The highlights were were the singing of Mr. Thorsett and an exquisite flute solo by Ms. Rosenfeld.

The Dona Nobis Pacem, an earnest plea for peace, seemed a fitting conclusion for this great work and for the 30th Mendocino Festival.