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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Marin Symphony / Tuesday, October 31, 2017
Alasdair Neale, conductor. Jennifer Koh, violin

Conductor Alasdair Neale

THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON

by Terry McNeill
Tuesday, October 31, 2017

North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoing a previously programmed another local Tchaikovsky Fourth.

So it was no surprise that the monumental 1878 Fourth was the capstone of the Marin Symphony’s back-to-back concerts Oct. 29 and 31, launching the 65th season and Alasdair Neale’s 21st as conductor. The Tuesday night concert, played before 800 in the Marin Center Auditorium, is reviewed here.

In the opening andante –moderato – allegro vivo horn and string entrances were often hit and miss, but footing was quickly found and Mr. Neale forged a commanding interpretation of brooding intensity. String playing was powerful, especially when the recapitulation arrived in the odd key (to F Minor) of D Minor. The following andantino’s folk song theme was fetchingly played by oboist Margot Golding, and the music reached an impassioned climax.

In the scherzo the word “genius” comes quickly to mind, with a joyous perpetual string pizzicato, with the Symphony’s excellent wind section (Ms. Golding, flutist Monica Daniel-Barker, clarinetist Arthur Austin) adding a piquant but perhaps unneeded respite to the plucked string magic. The movement’s tempo and piccolo playing of Katrina Walter were ideal.

Orchestra aficionados always gravitate to the tumultuous allegro con fuoco finale, and here the conductor didn’t disappoint. The danger is the seduction of a super fast tempo that can drive things off the rails as the excitement builds and the cymbals crash. Many cymbal crashes. Mr. Neale drew a propulsive performance from his orchestra, leaving nothing on the table, and the audience responded with a roaring standing ovation, and brought the conductor three times to center stage to acknowledge the applause.

Concluding the first half was a lush and lyrical but largely underpowered performance of Barber’s Op. 14 Violin Concerto, with Jennifer Koh as soloist. Ms. Koh captured the ruminating quality of the music from 1940, especially in the first two movements, but too often she could be seen playing but not heard, as least from my seat in mid orchestra. Barber’s violin writing weaves in and out of the orchestral fabric and was frequently covered by the upper strings, affecting the sonic balance. The soloist played well, with deft small slides between notes and an overarching nostalgic violin color, but details and even her elegant phrasing were occasionally submerged. Too much ensemble sound? Hall acoustics? Lack of Ms. Koh’s thematic projection? Clarinet, oboe and horn (Darby Hinshaw) playing married beautifully with the soloist in the andante and the unidentified pianist provided short harmonic touches, mostly in descending-note phrases.

Beginning the concert was the Rimsky-Korsakov adaptation of Mussorgsky’s Night on Bare Mountain. The hints of Tchaikovsky were always present in the brilliant orchestration and often-blaring effects. The Symphony’s stalwart trombones (Bruce Chrisp) and trumpets (John Freeman) were up to the demanding task here and all evening.