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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, October 08, 2017
Francesco Lecce-Chong, conductor. Joyce Yang, piano

Pianist Joyce Yang

CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA

by Steve Osborn
Sunday, October 08, 2017

The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final decision expected next March.

The conductor for the opening set was Francesco Lecce-Chong, a 30-year-old Colorado native who began his career as a pianist. Currently music director of the Eugene Symphony and associate conductor of the Pittsburgh Symphony, he appears poised for lift-off into the classical firmament.

Lecce-Chong strode onto the stage for the Sunday performance clad entirely in black, topped by jet-black hair without even a hint of gray. He immediately brought his youthful enthusiasm to bear on the opening number, “Garages of the Valley,” by Mason Bates, an homage to the low-tech spaces in Silicon Valley where the digital age began.

“Garages,” filled as it is with the insistent rhythms of number crunching machines, was a perfect vehicle for Lecce-Chong to display his exuberant yet compact style. He stood with feet firmly planted shoulder-length apart and conducted almost entirely with his upper body, moving his right hand forcefully, with equally forceful use of his head and left hand.

Lecce-Chong never strayed far from his initial pose, choosing to focus the orchestra on his steady beat and precise cues. The result was an exacting performance of a challenging score that thrives on intricacy. There was a lot of col legno from the strings and rapid passage work from the winds. The dynamic range, however, was quite limited, and the piece never achieved much forward motion. One kept waiting for a theme to arise out of the brilliantly orchestrated background. Perhaps the best verdict on “Garages” came from a woman behind me, who opined to her companion that “It had a lot of nice color.”

Forward motion and thematic development arrived in the next piece, Beethoven’s third piano concerto, brilliantly played by Joyce Yang. She brings a graceful fluidity to every aspect of her playing, and her entry after the long orchestral introduction was electrifying. Every note was crystal clear, with remarkable command of dynamics.

Lecce-Chong ably assisted Yang from the podium, keeping the orchestral volume way down to let her lines emerge in the near-perfect acoustics of Weill Hall. At times, she seemed more like a singer, turning each phrase into a vocal expression of innermost feelings. Her cadenza in the first movement was a virtual showcase of brilliant runs, perfectly sustained trills and bewitching turns of phrase.

The Largo second movement was truly largo, with vast distances between the beats. Sustaining momentum at that speed is quite difficult, but Yang did so with serenity, swaying slowly back and forth as if in a trance. Near the end, she leaned way in to play a pianissimo phrase and held that pose for a long moment before the orchestra moved on.

The last movement was a romp dominated by Yang and Lecce-Chong’s superb control of dynamics. The softest passages were often the most energetic, and the loud ones never get out of hand. At the end, it felt like one had heard this much-played concerto for the first time.

Lecce-Chong fared admirably in the Bates and the Beethoven, but the real test came in the second half with Tchaikovsky’s fourth symphony. The conductor resumed his basic stance--feet planted firmly apart, arms close to the vest--and summoned the powerful volley from the brass that opens the symphony. That was glorious, but the subsequent response began to drag and lacked sweep.

As the movement unfolded, Lecce-Chong’s shortcomings became apparent. His range of motion is limited, and his left-hand movements often replicate those of his right hand, placing more emphasis on the beat than on expression. Instead of using his left hand to control the volume, he used his upper body, leaning forward for soft passages and snapping back for louder ones, sometimes with whiplash motions of his head. He seemed to be confined to a box, moving from measure to measure rather than phrase to phrase.

Lecce-Chong’s problems were most evident in the slow second movement, but he solved many of them with a sprightly and energetic rendition of the third-movement scherzo, a dazzling combination of pizzicato and soaring woodwinds, capped by an outstanding piccolo. He set a furious pace for the Allegro con fuoco final movement, eliciting forceful playing from everyone on stage, with impressive fanfares from the trumpets. At the end, Lecce-Chong’s tremendous energy carried the show. The question is whether he can harness that energy into a more expansive conducting technique.

[Reprinted by permission of San Francisco Classical Voice]