Home  Reviews  Articles  Calendar  Presenters  Add Event     
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 / Sunday, October 09, 2016
Bruno Ferrandis, conductor. Jean Ferrandis, flute

Flutist Jean Ferrandis

DUET FOR FLUTE AND BATON

by Steve Osborn
Sunday, October 09, 2016

Sustain, sustain, sustain! That exhortation often passes the lips of music teachers, and their students’ success is often judged by how well they master the concept. Two students who mastered it to perfection are Bruno and Jean Ferrandis, the “Brothers in Black” who led and soloed in the Santa Rosa Symphony’s October opening set of concerts in Weill Hall.

The basic idea of sustain is to play all the way through the note and the phrase, never letting the energy peter out. This quality is nowhere more necessary than in wind instruments, where the player has to control intake and expenditure of breath without running out of air or gasping for more. Jean Ferrandis, the flute soloist for his brother’s orchestra, proved himself a master of sustain in two radically different flute concertos by Bernstein and Mozart, along with a breathtaking encore by Debussy.

Not to be outdone, brother Bruno coaxed an equal level of sustain from his wonderful orchestra, which kept driving forward through pieces fast and slow, never letting their intensity falter. Each piece offered its own gripping narrative, from the haunting beginning of Britten’s “Four Sea Interludes” to the propulsive climax of Beethoven’s Eighth Symphony.

Soloist and orchestra were equally praiseworthy, but let’s begin with Jean, who opened with a heartfelt rendition of “Halil,” Bernstein’s nocturne for flute and small orchestra. He immediately displayed a beautiful, even sound that carried to the farthest reaches of the balcony, where music reviewers tend to sit. He sustained his notes well beyond the limits of ordinary breath without a hint of effort or strain.

“Halil” itself is somewhat amorphous, with a luxuriant opening melody that passes back and forth between the soloist, the principal flutist (Kathleen Lane Reynolds), the concertmaster (Joseph Edelberg) and principal violist (Elizabeth Prior). This dialogue transforms into a Broadway-style dance and is then replaced by a lengthy section where the soloist is accompanied only by percussion. Here Jean shone, holding the audience in rapt silence as he wove in and out of the percussive backdrop. The piece finally reverts to the opening melody, repeatedly employing a descending six-note phrase, and it ends with a long note from the flute, which Jean stretched to the limit.

In “Halil,” Jean proved a master of atmospherics, but in Mozart’s G Major flute concerto (K. 313) he displayed an equal mastery of relaxed precision. In Mozart the soloist is fully exposed, and even the slightest misstep can turn into a tumble. Jean negotiated Mozart’s trickiest passages with ease, dancing along with a feathery tread. His phrasing in the beautiful second movement was exquisite, matched only by his virtuosity in the third.

After a well-deserved standing ovation, Jean encored with Debussy’s “Syrinx” for solo flute, a brilliant showcase for his breath control and tone. After all his work with the orchestra, it was a revelation to hear him all alone. If anything, his sound was even more gorgeous than before.

Following his brother was no easy task, but Bruno displayed his own mastery of conducting sustain in a riveting performance of Beethoven’s eighth symphony. The orchestra produced a tight, unified sound from the beginning, with the strings playing unerringly in the fastest passages. The precision was particularly evident in the sprightly second movement, where the orchestra sounded at times like a string quartet. The minuet third movement tempo was a bit too deliberate, but the French horn duo over cello arpeggios was delightful. The real fireworks occurred in the finale, which builds up bit by bit to a stunning climax. Here the sound was transparent, with no mud to cloud the headlong rush to the end.

The Beethoven was great, but the piece that opened the program, Britten’s “Four Sea Interludes,” was every bit its equal. Taken from his 1945 opera “Peter Grimes,” the interludes portray the sea in its multiple moods and rages. The first interlude begins with a high phrase in the violins that features a sustained trill. The unity of the strings here was impressive, and it set the stage for a sensitive, intricate performance of Britten’s majestic score.

Conductor and players handled the dense orchestration with ease and grace. Many passages stood out: the handoffs of the compelling staccato theme from woodwinds to strings to brass; the insistent plucking of the harp; the compelling force of the kettledrums. All these and more combined for a fiery and dramatic performance that left one wishing to hear the entire opera, arguably Britten’s greatest work.