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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, December 04, 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 04, 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.