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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
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.