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SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
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...
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 REVIEW
Santa Rosa Symphony / Sunday, November 06, 2016
Bruno Ferrandis, conductor. Orion Weiss, piano

Pianist Orion Weiss

ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT

by Steve Osborn
Sunday, November 06, 2016

Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill.

Weiss is a no-nonsense pianist. He seated himself at the piano, gathered his energies, and then launched full bore into the finger-crunching opening runs of the Bartók. He spent nearly all his time staring at his hands, as if guiding his fingers with his eyes rather than his arms. The speed of light seems like the most plausible explanation for the astonishing rapidity and precision of his attack. He was able to control the resonance of the piano with finger speed as much as pedal. In one soft passage, he achieved a haunting effect by striking the keys with so much speed that the notes died away as soon as they sounded.

The Bartók requires a considerable amount of fire from the soloist, an element that Weiss has in profusion. Although he was occasionally drowned out by the winds in the Allegro first movement, he flamed forth time and again, fully igniting near the end with an incredibly fast cadenza.

The entry of muted strings in the second movement brought an entirely new world of sound, to hypnotic and engaging effect. Weiss arose out of this background by producing tremendous volume from his instrument, accented by a beguiling duet with tympani. The tympani featured prominently in the final movement as well, along with a booming bass drum. Much of the movement is given over to a vigorous call-and-response between piano and orchestra. Weiss not only matched each orchestral outburst but kept raising the ante all the way to the transcendent conclusion.

The opener, Liszt’s symphonic poem “Les Préludes,” stood in pale contrast to Bartók’s masterpiece. Liszt’s orchestration is competent, but his melodies are insipid and his development evanescent. Nonetheless, the orchestra played flawlessly under conductor Bruno Ferrandis, with elegant solos from the French horn and oboe. After an interminable series of runs and arpeggios, the melodic material does coalesce near the end with a striking nine-note descending figure from the brass, impeccably executed by the orchestra’s trumpets and trombones.

Schumann’s second symphony, which occupied the latter part of the program, is a standard of the repertoire, and with good reason. Every movement has striking melodies and motifs, and they flow together with consummate grace. The orchestra played superbly, but special praise must be given to the string section, which negotiated Schumann’s roller-coaster runs with accuracy, unanimity and feeling. Nary a wrong note was to be heard.

In the first movement, Schumann uses a dizzying array of short motifs to build a central theme. Ferrandis brought out the abundant phrases and syncopations, nowhere more so than in an extended passage for strings and clarinet. The violins shone in the second movement, a playful Scherzo that requires nearly perpetual motion, capped off by a bracing sprint to the finish.

The players caught their breath in the subsequent Adagio, a subdued and calming interlude that invites rhythmic flexibility and heartfelt playing, which were everywhere in evidence. Most notable was the beautiful Bach-tinged fugue in the middle.

Ferrandis set a brisk tempo for the Allegro molto finale, resorting sometimes to compact angular motions instead of a more relaxed fluidity. However the beat was conveyed, the musicians kept up the pace while deftly handling repeated sforzandos and orchestral swells. Each idea led seamlessly into the next and propelled toward a triumphant ending — triumphant not only for Schumann, but also for Ferrandis and the Santa Rosa Symphony, which delivered an outstanding performance.

[Reprinted by permission of San Francisco Classical Voice.]