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Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 9, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, September 30, 2017
Norman Gamboa, conductor

Conductor Norman Gamboa

DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER

by Terry McNeill
Saturday, September 30, 2017

A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium.

Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with the uncommonly heard first Symphony of Tchaikovsky. The G Minor Major Symphony doesn’t have quite the emotional impact and tight construction of the iconic Fourth, Fifth and Sixth symphonies, but the seeds of the composer’s greatness are everywhere to be heard in the early work from 1866 and revised in 1874 – stirring themes, virtuoso demands throughout each section, and at time volcanic climaxes. It’s long at 48 minutes but this performance was worth every second.

Mr. Gamboa made a number of decisions that served this florid music well. His tempos never were rushed, and he allowed soloists in several sections to continually shine. The Orchestra’s winds have been at the heart of memorable performances for years, and here oboists Kris Krive, clarinetist Nick Xenelis, flutists Debra Scheuerman and Martha Krones, and bassoonist Miranda Kincaid were sterling all evening. In this Symphony the composer used winds for much of the thematic statements, supported by the violins, and the themes from the principal wind players were achingly extravagant.

At the big climaxes that characterize Tchaikovsky (as with Sibelius and Shostakovich) Mr. Gamboa had his hands full keeping the instrumental choirs, especially the high strings, clear and distinct from low strings. He was largely successful, especially in the adagio cantabile second movement, where the flute and oboe duets were captivating.

In the scherzo the playing was brisk and colorful, with the composer’s mastery of pizzicato (brilliantly exploited later in his Fourth Symphony) piquant. A surprise came in the long introduction to the finale where the conductor drew extended phrases and deft rhythmic control from the Orchestra, making the transition to the magisterial allegro all the more striking and convincing. Here there were jolting echoes of Sibelius’ FInlandia (composed 34 years later!). The fugue textures were clear, again the product of virtuoso wind play and Mr. Gamboa’s attention to cutoffs, the many modulations and section balance.

A raucous ovation from the audience of 250 brought the conductor back for one curtain call, but oddly no individual player recognition was chosen.

The concert began with the three Dvorak overtures – In Nature’s Realm, Othello, and Carnaval. Only the last is frequently performed, and a chance to hear Othello was an unexpected treat. It was the most Wagnerian of the three with descending phrases and mysterious harmonies that Dvorak must have absorbed at Bayreuth. The Philharmonic’s playing caught the somber and nostalgic mood of the work, although fast descending runs in the violins were often blurred. An occasional nod to Bruckner’s music is in the Othello Overture.

In the first and third overtures contrast could not be starker. The bucolic Nature’s Realm was played as an awakening of ravishing outdoor sound, lovely and never so persistent to mar a joyous mood. Though often overly loud with ragged entrances, the music had a quaint ballet character that was irresistible, and Mr. Gamboa gave lots of rhythmic leeway to achieve his conception of Dvorak’s music stemming from Czech country tunes and dances. Clarinet and oboe playing was exemplary.

In the most “Dvorak” of the overtures the familiar Carnaval was appropriately blaring and rollicking. A third flute part was added to the mix, and flourishes from the augmented percussionists (cymbals, tambourine, triangle) gave spice to the rich sound. It’s a foot-tapping piece that exploits the brass and horns, and the Philharmonic seemed to enjoy playing the racy and heated music as much the audience did hearing it.

Verbal presentations before and during the concert underscored the Philharmonic’s community volunteer and connections, and augur well for the new season that will feature demanding Lutoslawski, Nielsen and Hindemith compositions. Clearly Mr. Gamboa is setting a high bar.