Home  Reviews  Articles  Calendar  Presenters  Add Event     
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, 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 composer’s 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 “firsts” of Beethoven, Shostakovich and Mahler.

Tackling Mahler ‘s D Major Symphony (No. 1,“Titan”) 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 conductor’s 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 Hyde’s 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 Mahler’s 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 composer’s 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. Gamboa’s canny control of the many delicate changes of rhythm kept the music’s pulse steady.

One piece comprised the concert’s first half, Rachmaninoff’s C Minor Concerto (Op. 18) with pianist Leyla Kabuli. Ms. Kabuli’s 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. Rachmaninoff’s four Concertos, Rhapsody and two Sonatas all are crammed with notes for the pianist, and though it’s 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 other’s 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 Mozart’s K. 488 Concerto, here sounded well, with surprisingly not brilliant hammer voicing and an improvement from the formerly dull bass string sound.

Ms. Kabula’s 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 - Liszt’s 12th Etude d’execution transcendante, Chasse-neige (Snow Plow). It was a wonderful performance with accurate contrary-motion chord skips and rapid tremolo. There wasn’t a hint of slackening endurance and the audience loved it.