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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís 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. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
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 seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
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 REVIEW
Sonoma County Philharmonic / Saturday, April 08, 2017
Norman Gamboa, conductor. Leyla Kabuli, piano

Pianist Leyla Kabuli April 8 in Santa Rosa

HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE

by Terry McNeill
Saturday, April 08, 2017

A composerís first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the ďfirstsĒ of Beethoven, Shostakovich and Mahler.

Tackling Mahler Ďs D Major Symphony (No. 1,ďTitanĒ) April 8 was the intrepid Sonoma County Philharmonic, playing before an audience of 300 in the Santa Rosa High School Hall. Conductor Norman Gamboa took moderate tempos throughout, aiming for sonic balance in the score that runs well over 50 minutes. In a departure from local symphonic custom Mr. Gamboa directed from memory, and clearly the Mahler is a special piece for him.

In the long five-movement work a key conductorís task is to balance instrumental sections, especially to limit brass domination of the strings, and Mr. Gamboa here was mostly successful. He caught the jolly swing from the opening bucolic pianississimo to gentle melodies in the horns (Ruth Wilson, Eric Anderson).

Tom Hydeís trumpet solo set off the first theme of the Blumine movement, with lovely playing from harpist Randall Pratt and oboist Chris Krive, the latter playing a long Wagner-like melancholy theme. The ending in the high strings was shimmering and convincing.

Through the third and fourth (march) movements Mahlerís demands for seamless horn and wind choir playing were difficult to sustain, as the combination of instrumental stamina and high volume took a toll. That said, handsome playing was abundant in large numbers: four flutes and piccolo (Emily Reynolds, Debra Scheuerman, Mary Kemnec, Valerie White); bassoon and contrabassoon (Miranda Kincaid, Steven Peterson). The finale featured the visual treat of eight horn players standing in a row in front of the percussion section and blowing an inspired lyric melody that harkens to the D Major that was last heard long ago during the first movement. Assaulting violence in sound alternated with the composerís splashy thematic richness. It was a harbinger of what was to some in the next 20 years and eight additional symphonies.

A signature part of this symphony is the contrabass solo (played by Karen Zimmerman) and perky piccolo duet in the march, and the conductor shaped it as a slow march. But there was nothing funereal about the sound, and Mr. Gamboaís canny control of the many delicate changes of rhythm kept the musicís pulse steady.

One piece comprised the concertís first half, Rachmaninoffís C Minor Concerto (Op. 18) with pianist Leyla Kabuli. Ms. Kabuliís playing had many fresh effects including uniquely breaking several of the opening left-hand chords and soberly artful phrasing. The ensemble was marred by the orchestra sounding too loud.

Clarity returned in the famous adagio sostenuto that featured flute and horn solos. Ms. Kabula mastered the tsunami of notes to the degree that lyric beauty of phrase was the focus in this super romantic score. Rachmaninoffís four Concertos, Rhapsody and two Sonatas all are crammed with notes for the pianist, and though itís easy to omit some in the thick sonic mix, the resulting aural fabric is adversely changed. Mr. Gamboa and Ms. Kabula solved this concern by adopting judicious tempos and watchful deference to the otherís musical part.

Oboe (Mr. Krive) and clarinet paying (Nick Xenelis) were first cabin throughout the work, and Robby Morales performed a sumptuous viola solo in the concluding allegro scherzando. The Hall's resident piano, sub par in past seasons in a Falla work and Mozartís K. 488 Concerto, here sounded well, with surprisingly not brilliant hammer voicing and an improvement from the formerly dull bass string sound.

Ms. Kabulaís hard work in the finale was compromised by an overly resonant orchestra, and her playing in the speedy coda was buried. She could be seen but not heard.

Perhaps the pianist wanted to have a strong final say, and returned amidst an ovation to play a long encore - Lisztís 12th Etude díexecution transcendante, Chasse-neige (Snow Plow). It was a wonderful performance with accurate contrary-motion chord skips and rapid tremolo. There wasnít a hint of slackening endurance and the audience loved it.