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Symphony
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 P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, April 12, 2008
Bruno Ferrandis, conducting
Christopher O'Riley, piano

Christopher O'Riley

SONIC TATTOOS

by Steve Osborn
Saturday, April 12, 2008

In newspaper ads touting his appearances with the Santa Rosa Symphony, Christopher O'Riley wore a black T-shirt, the better to show off a massive henna tattoo running the length of his arm, right down to the ends of his fingers. In his April 12 concert, the tattoo was no longer in evidence, but he did manage to tattoo the symphony's resident Steinway with some of the richest sounds to emerge from that instrument in a long time.

Clad in a knee-length black coat, O'Riley got right to work on Bartok's Piano Concerto No. 3, a piece the Santa Rosa Symphony had never performed in its 80-year history. In a preconcert conversation with Music Director Bruno Ferrandis, O'Riley opined that the concerto ' Bart'k's last completed work ' evokes the sonic landscape of New York City in the 1940s, in distinct contrast to the rural folk inspirations of his other concertos.

O'Riley's playing was consistent with this interpretation. He began with emphatically disconnected notes, a collision of sounds without any apparent unity that sounded like the jarring street noises of Manhattan. Within a few measures, however, he smoothed out the edges and began playing with a seemingly effortless legato. He maintained this level of contrast throughout the concerto, altering his tone and attack in keeping with the music and the orchestra's exertions.

Cooperative Soloist

It is rare to see a soloist pay such careful attention to the conductor. O'Riley kept his eyes glued on Ferrandis and his expressive left arm during the constant rhythmic challenges of the first movement, meshing in perfect tempo and volume with the orchestra. Instead of 'piano versus orchestra,' the performance was a fused creation, an orchestriano.

The intensity of the first movement was matched by the serenity of the second. The performers not only kept the adagio pace without flagging, but they also fully invested the movement with the feeling of the second part of its tempo marking: 'religioso.' Despite barely moving his upper torso, O'Riley managed to get an enormous amount of sound out of the piano, intoning a series of resonant chords.

The allegro vivace last movement started a bit meekly but then caught fire after a muted section in the strings. O'Riley still didn't move much, but he seemed to be talking to himself, perhaps mouthing the intricate beats emanating from the podium. The run-up to the end was absolutely thrilling, with O'Riley sprinting from one end of the keyboard to the other, and Ferrandis jumping in the air. The standing ovation was immediate and sustained.

Ferrandis warmed up the audience with Jan''ek's overture to his opera From the House of the Dead, also a last work. Like the Bart'k concerto, Jan''ek's overture is suffused with rhythmic complexity. The orchestra followed Ferrandis' steady baton to a person, with nary a player out of step. Concertmaster Joseph Edelberg played the solo passages beautifully, joining his stand partner, Erin Benim, for some equally effective duets.

Acoustic Challenges

The only problem with the Jancek was the deadening acoustic of the Wells Fargo Center. Passages that should have rung out simply died somewhere between the low ceiling and the carpet. Audiences can only hope that the new Green Music Center ' still one or two years away ' will solve this nagging problem.

In the second half of the program, the familiar melodies and driving rhythms of Brahms' Symphony No. 1, Op. 68, put merely acoustic considerations aside. Ferrandis launched into the symphony with vigor, rotating his arms like pistons and fully extending his lengthy fingers. He conducted from a miniature score, which seemed to function strictly as a memory aid; he rarely consulted it, other than to turn pages.

As always, Ferrandis' podium antics were a joy to watch. He was in constant motion, using every square inch of the podium's surface, moving forward and back, side to side, and even leaning dangerously backward against the protective rail. He is a two-fisted conductor, conveying as much with the digits in his left hand as with the baton in his right. He has an angular fluidity that commands respect.

Brahms' first symphony is more than familiar, but I never grow tired of it. Of the many beautiful moments, the oboe, clarinet, and violin solos in the middle movements stood out, as did the pizzicato section at the beginning of the last. The energy in this final movement was particularly well-sustained, beginning with the pizzicato, moving through the brass-and-timpani fanfare, the melodic interplay of the woodwinds, the majestic closing theme, and then the headlong rush to the triumphant final chords. When it was over, Ferrandis had to mop his brow before turning to face the audience, which was once again on its feet.