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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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.]