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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
Santa Rosa Symphony / Sunday, March 26, 2017
Bruno Ferrandis, conductor. Joseph Edelberg, violin; Elizabeth Prior, viola; Adelle-Akiko Kearns, cello

Composer Alan Hovhannes

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 Prior) shared the stage for a dazzling performance of Mozart’s much-loved Sinfonia Concertante; and the cellist (Adelle-Akiko Kearns) was the soloist for Gabriel Fauré’s rarely heard Élegie.

Edelberg and Prior could not be more different as players. He stands ramrod straight; she sways back and forth. He plays the notes as written; she injects a little rubato when given the opportunity. His tone is pure but restrained; hers is warm and flexible. Opposites, to be sure; but opposites attract. This was a duet of two distinctive voices that complemented each other instead of fighting.

The opening Allegro movement of the Sinfonia Concertante was delightfully brisk and well played by all concerned, but there were occasional balance problems and some intonation lapses. The cadenza was invigorating, leading to healthy applause--a welcome departure from tradition.

Balance problems disappeared in the sublimely quiet slow movement. The orchestra stayed well back as Edelberg and Prior wove their intricately entwined lines to maximum effect. They tapped straight into Mozart’s tragic mode, eliciting profound emotion. In contrast, the closing Presto was light and buoyant, and the exchange of lines between the soloists was electrifying.

There’s usually a reason certain pieces are rarely heard, and such is the case with Fauré’s Élegie. The cello part is lovely, and it was lovingly played by Kearns, but the orchestration is often clunky, and the piece wanders. The balance problems were also more pronounced than in the Sinfonia Concertante, even though a stage hand installed a microphone in front of the cello stand. Kearns has great vibrato, and her tone is often luscious, but she was frequently overpowered by the orchestra, particularly in the softer passages.

Kearns got a better chance to shine after intermission, when she played the frequent cello solos in Sibelius’s fourth symphony. After three lushly orchestrated, crowd-pleasing symphonies, Sibelius took a break with the fourth, opting for restraint instead of grandeur. The result is an austere masterwork suffused with concealed energy that rarely breaks loose.

Conductor Bruno Ferrandis is well versed in Sibelius’s intricate musical architecture, and he pushed forward relentlessly, never letting the orchestra shy away from the symphony’s exacting demands. Orchestral crescendos came and went repeatedly without ever bursting forth into full-throated song. One got the sense of a volcano waiting to burst forth but constrained in its depth. The eruption finally occurred near the end of the Largo third movement, where the orchestra let loose with a remarkable unanimity of sound.

The performance of the final movement, with its resounding bells and sheer diversity, was a model of pinpoint dynamics and locomotive drive. Most remarkable were the last few dozen bars, where the orchestra seems headed to an ear-shattering conclusion but instead fades out elegantly, receding back into the depths.

Last but not least were the concert’s bookends: Alan Hovhaness’s Meditation for Orpheus, at the beginning, and Sibelius’ Finlandia, at the end. The Hovanhess offered an unusual array of orchestral colors, none more resplendent than when the basses pluck ad lib, creating a dense cluster of sound. The basic structure is of a musical hot potato being passed back and forth between sections over a drone-like background. The piece is oddly static, but the sound is often memorable.

On the other end was Sibelius’s more-than-familiar Finlandia, a rousing finale seemingly inserted to counter the sotto voce ending of his fourth symphony. The playing was authoritative and the applause thunderous, causing a nearby patron to remark, “Now that’s an ending.”

[Reprinted by permission of San Francisco Classical Voice.]