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Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Symphony
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 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.