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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...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 9, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, January 28, 2017
Norman Gamboa, conductor. Roy Zajac, clarinet

Clarinetist Roy Zajac Receives Applause Jan. 28 in SRHS Hall

SUBLIME MOZART CLARINET CONCERTO TOPS SO CO PHIL CONCERT

by Terry McNeill
Saturday, January 28, 2017

Sonoma County Philharmonic’s long history of featuring soloists from the neighborhood struck gold again Jan. 28 with a ravishing Mozart Clarinet Concerto performance with soloist Roy Zajac.

Before an audience of 300 the Santa Rosa High School hall the A Major Concerto (K. 626) unfolded gracefully with Mr. Zajac’s virtuosity everywhere in evidence. He played the work with the Santa Rosa Symphony several years ago, and the piece was prominent during last summer’s ChamberFest in Weill, with David Shrifin the artist.

Initial orchestra entrances were not smooth and violin section pitch wavered, but all was swept away with Mr. Zajac’s juxtaposition of insistent notes and softly floating notes, always wrapped in patrician phrasing. His mid-range tone was lovely and he is a master at the end of long phrases in letting extended thematic notes fade to the quietest of Pianissimos. The carefully gauged three step up trills in the Allegro were delicately shaped, and the roulades interweaving with the orchestra were exquisite.

Under conductor Norman Gamboa’s direction the Adagio was a captivating lament, the plaintive clarinet’s themes answered by the orchestra, and Mr. Zajac played seamless connected phrases with perfectly-weighted legato and charm. This sublime movement was the concert’s highlight.

In the concluding Rondo the horn playing was uneven but again the soloist’s command conquered all and here he beguilingly made subtle changes in the repetitions, and played unison themes with the violins. There are no cadenzas is this 1791 work but in a way each movement had ample interior cadenzas of melting beauty.

Mr. Gamboa has a penchant for changing the stage arrangement of his orchestra, and this concert’s first work (Ravel’s “Mother Goose” Suite) began with the basses and cellos stage right (when have you see the bass section at the back stage right?) and the second violins stage left.

This short work in five sections spotlighted perhaps the SCP’s strongest section, the winds. As during the entire afternoon slow tempos were the norm, allowing compelling playing from Debra Scheuerman (flute), Chris Krive (oboe), Nick Xenelis (clarinet) and bassoonist Miranda Kincaid. Ravel’s Suite, in places similar to the more comprehensive and later Suite No. 2 from “Daphnis et Chloé”, was well played but elicited little audience response. The French composer’s classic orchestral sonority appeared most persuasively in the “Empress of the Pagodas” movement, and Mr. Gamboa drew rich color from his winds, as he did in the following “Conversations” movement’s slow waltz with a soaring high violin solo (Mary Cornet) and harpist Kristin Lloyd.

Mr. Gamboa was in no rush to finish in the nostalgic “Enchanted Garden” but drove to more sonority with violin and viola duos and the unique bass clarinet sound. The same composer’s 1922 orchestration of Mussorgsky’s “Pictures at an Exhibition” concluded the program, and Mr. Gamboa reseated the ensemble with cellos at stage right, violas in the middle and a large percussion section at the rear. The music proved a tough mountain for the all-volunteer orchestra to climb, with often-ragged entrances and releases, weak horns and string intonation uncertainty.

The slow tempos selected were perhaps needed to insure cohesive ensemble but tended to reduce the punch of the sonorous composition, though when faster music was played in the “Ballet of the Unhatched Chicks” there was sparkle and momentum. Often between movements Mr. Gamboa wanted long sonic delays that allowed some respite, but as in the transition from the “Promenade” to the downward bass/cello passage of “The Gnome” it lowered tension and effect.

David Lindgren's trumpet work was masterly throughout, especially so in Section 6 ("Samuel Goldenberg and Schmuÿle"). Welcome was unique sound from saxophonist Megan Rice, especially when paired with the bassoon parts and Mr. Xenelis’ chirpy clarinet. Ensemble evened out in the last two movements, and the conductor’s control and slack pacing produced the aura of majesty (with strong timpani playing of Russell Hendon) in the final “Great Gate of Kiev.”

Audience applause will full with Mr. Gamboa taking two curtain calls and recognizing members of the orchestra.

The Orchestra’s next program will be April 8 and 9 in the same hall, featuring Mahler’s Symphony No. 1 (“Titan”) and Rachmaninoff’s C Minor Piano Concerto.