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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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.]