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Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
SYMPHONY REVIEW
Mastercard Performance Series / Saturday, October 15, 2016
Philharmonic Baroque Orchestra, Nicholas McGegan, conductor. Robert Levin, piano

Robert Levin (left) and Nicholas McGegan in Weill Hall Oct. 15

BAROQUE NO MORE IN STIRRING BEETOVEN CONCERT IN WEILL

by Terry McNeill
Saturday, October 15, 2016

Seasoned listeners for Beethoven’s symphonies and concertos know that interpretations can follow contemporary fashion, from the heroic and sonorous grand manner readings of the late 19th and early 20th centuries to the architectural approach after WW II, and even conductor Roger Norrington’s recent sleek and fast renderings.

In Weill Hall on Oct. 15, conductor Nicholas McGegan fashioned persuasive readings of Beethoven's Sixth Symphony and third Piano Concerto with his Philharmonia Baroque Orchestra, an ensemble sharply reduced in size (30 musicians) from convention, and with soloist Robert Levin using an 1820-era fortepiano rather than the hall’s usual concert grand.

The Op. 37 C Minor Concerto occupied the entire first half and Mr. Levin’s performance captured the energy inherent in the composition that, unlike the composer’s later two piano concertos, never quite breaks out. Following the long orchestral introduction with fine clarinet (Bryan Conger) and flute (Janet See) playing, the piano’s reduced sound sparkled in fast runs but sporadically was lost in the sonic fabric. In comments to the audience Mr. Levin said he would discard Beethoven’s much-loved first-movement cadenza and would improvise one, as well as similar but shorter cadenzas in the second and third movements.

This he did artistically and as well he played through tuttis, something never seen (or heard, as the piano’s sound here was almost mute) in Weill. A soloist playing inside the orchestra fabric (Golden Age pianists like Hofmann and Busoni did this in movement-ending tuttis) is simply not done now, but with the fortepiano’s reduced resonance it made little difference. Mr. Levin played without pedal in the exposition and used little thereafter, highlighting left-hand sforzandos and arpeggiating chords that were not so indicated in the score but were deliciously effective. Mr. McGegan set a judicious tempo throughout.

Unexpected pianistic improvisations with lots of pedal continued in the entrancing Largo, only to be interrupted by a stuck key in the piano action, and while Mr. Levin provided witty remarks the Orchestra’s on-site technician fixed the mechanism and the movement started over. Featured here were snazzy rhythms and fast descending runs on top of the keys where the composer indicates an entire theme while depressing the pedal, and a distantly related key of E Major. Exquisite.

In the concluding Rondo there were more savory surprises with sharply etched dissonant seconds and new turns and agogics. Often the conductor looked at length over his shoulder at Mr. Levin, waiting for the extemporizing to end and to cue the orchestra to enter. It was a visual and sonic treat, and playing loyal in every way to Beethoven’s intentions. The last cadenza was gay and even coquettish, and again Mr. Conger’s clarinet solos were superb.

Following intermission the F Major “Pastoral” Symphony was played, Beethoven’s only symphony with a set literary program. However bucolic, Mr. McGegan’s tempos were hardly pastoral and he charged quickly ahead with little attention to ritards or spaces between long phrases. But make no mistake, the conductor was a master of small details in this extraordinary music and drew from the Orchestra playing of distinct articulation and luminous sound. The winds were captivating, especially oboist Marc Schachman and bassoonist Andrew Schwartz. Less impressive were wrong notes from the valveless horns, and often in runs they were unable to match tempo.

In the Andante, Mr. McGegan adroitly brought out the bird call flourishes that for me were mixtures of mockingbirds and thrushes, and the trading of wind phrases (Lars Johannesson’s piccolo, Mindy Rosenfeld’s flute, Mr. Conger’s clarinet) were always exemplary. In the Allegro third and fourth movements Mr. McGegan summoned dramatic contrasts and moved convincingly between agitated and slightly raw dances (“Merry Gathering”) to a musical thunderstorm of palpable ferocity. Weill’s orchestra clarity was in evidence, as was Kent Reed's timpani playing.

The final Allegretto was transitional and transparent with the dignified main theme played resplendently by the violins over a pizzicato line in bass and cello. It sounded strangely “modern,” certainly a tribute to the composer’s amazing skill at variation and creativity, and Mr. McGegan’s strict tempos and deft control.

It was a performance of clarity and vigor, and for the audience of 500 seated solely in the Hall’s orchestra section there was no reason to regret the absence of a numerically larger ensemble.

To the standing ovation no encore was offered.