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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, December 4, 2016
Bruno Ferrandis, conductor. Christopher Bengochea, tenor; Jenni Samuelson, soprano; Philip Skinner, baritone. Sonoma State University Choir

Edgar Allan Poe

HEAR THE TOLLING OF THE BELLS--IRON BELLS!

by Steve Osborn
Sunday, December 4, 2016

Thanks to the generosity of Don Green (as in Green Music Center), the Santa Rosa Symphony has for many years performed an annual choral program, usually during the holiday season. In keeping with this tradition, the orchestra and the SSU Symphonic Chorus featured Rachmaninoff’s choral symphony “The Bells” during their Dec. 3-5 concert set (I attended on Dec. 4). Rachmaninoff’s title suggests a festive work appropriate to the season, but the reality is that “The Bells” is a peculiarly Russian version of Edgar Allan Poe’s captivating but ultimately tragic poem, more suitable for mourning than merriment.

The music of “The Bells” is among Rachmaninoff’s best, mixing equal parts of passion and invention. The third movement, “Alarm Bells,” is particularly stirring in its mixture of fortissimo choral lines, unusual orchestration and melodic fervor. Both choir and orchestra proved up to the task in this performance, with lines like “In a tuneless, jangling wrangling as they shriek, and shriek, and shriek” ringing forth with clear diction and enormous power. Maestro Bruno Ferrandis conducted with vigor, and the orchestra sustained the drama throughout.

The other movements were less impressive, hampered by often inaudible soloists, imperfect balance and a strangely perverted translation and retranslation of Poe from English to Russian to English. Much is lost in transit, such as Poe’s insistent repetition of key words--bells, time, tinkle--and his rhythmic intensity. Captivating lines like “How they tinkle, tinkle, tinkle / In the icy air of night” are debased into “Rippling sounds of laughter falling / On the icy midnight air.”

These textual difficulties were somewhat moot during the performance because the words were often hard to hear and nearly impossible to read in the darkness. Perhaps the powers that be could raise the auditorium lights slightly during vocal performances or even consider using supertitles, as in opera houses.

Tenor soloist Christopher Bengochea sang with excellent diction, but his voice was somewhat dark, and his head was often buried in the score. Soprano Jenni Samuelson has a lovely voice, but her insistent vibrato sometimes overpowered the text; her performance was much better in Rachmaninoff’s wordless “Vocalise,” which ended the program. Baritone Philip Skinner was the most impressive soloist, enunciating his mournful lines with deep resonance. He was also the most engaged with the audience, rarely referring to his score.

“The Bells” was actually the second bell-related piece on the program, which opened with a spirited performance of contemporary composer August Read Thomas’s “Prayer Bells.” Like many other modern compositions, the work is built around a single sustained note, or drone, heard in different octaves. The melodic material, such as it is, begins and ends on the drone, with no forward progression. Attention thus focuses on orchestral color and quality of sound, which was impressive; but the lack of forward motion was frustrating.

The highlight of the concert was Elgar’s “Enigma Variations,” which earned a standing ovation before intermission from the packed house. The majestic ninth variation, “Nimrod,” is often played by itself, but it sounds even better when heard in the context of the 13 other variations on Elgar’s “Enigma” theme.

Unlike purely musical variations, Elgar’s are based on the characteristics of individual people, with only distant references to the original theme. This change in basis, as it were, gives Elgar considerable freedom to depict each person’s foibles in sound. There is considerable variety to the variations, and the orchestration is consistently inventive and delightful.

The symphony played with great confidence and gusto, easily switching from grim foreboding to fragile delicacy. The clarinet, viola and cello solos were outstanding, and Ferrandis’s conducting was both steady and fluid throughout. He would have done better to program the gloomy Rachmaninoff first and the shimmering Elgar last, so everyone could leave with a smile on their face instead of a furrowed brow.