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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
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, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
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...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Mastercard Performance Series / Friday, November 03, 2017
Marinsky Orchestra, Valery Gergiev, conductor. Denis Matsuev, piano

Conductor Valery Gergiev

TO RUSSIA WITH BRILLIANCE

by Terry McNeill
Friday, November 03, 2017

Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine orchestra. On this day it was the legendary Mariinsky Orchestra from St. Petersburg, under the baton of international star Valery Gergiev. Qualms were put to rest at the outset.

The answer for a paltry audience of 500 was joy and a huge ovation at the conclusion of Prokofiev’s G Minor (No. 2, Op. 16) Concerto. This work was absent from programs for many years, though the wonderful Jorge Bolet championed it and recently Yuja Wang has taken it up. The technical demands for the pianist, especially in the first movement cadenza but also throughout, are ferocious, and stamina is needed as well as speed and instrumental volume. Mr. Matsuev didn’t shy away from an immense and raucous sound, and he nailed the breakneck right hand skips and thunderous repeated bass chords with seeming ease. But certainly it wasn’t an easy matter to not be covered by the 75-piece Russian orchestra playing at full tilt. A different part of the artist’s technique was evident when he captured a far away mystical and faint sound at the reappearance in the coda of the work’s first theme.

In the scherzo’s perpetuam mobile and the intermezzo his playing was seldom below a mezzo forte, though the Orchestra’s low string sound was always husky. Mr. Matsuev uses shoulder and arm weight and ample but quick damper pedal to underscore the composer’s driving rhythms and deft references to parts of the First Concerto, written when a student and about a decade prior to the G Minor. The finale was more of the same thick and dense sound, rolling along at a fast clip of formidable virtuosity. He seems happiest when the music needs fleet fingers. Mr. Gergiev’s conducting faultlessly followed every demand in the score, and the Orchestra had the right blend of Prokofiev’s motoric momentum and raw dissonance.

Recalled to the stage Mr. Matsuev played as an encore a parched and super fast finale (allegretto) to Beethoven’s “Tempest” Sonata, Op. 31, No. 2.

Following intermission was the highlight of the evening, an amazing reading by Mr. Gergiev of Strauss’ turn-of-the-20th-Century tone poem Ein Heldenleben. Op. 40. From the opening chord growl of the bass and cello sections, the sound driving Weill’s mellow wood surfaces to perfection, the playing made it clear that a special musical event was to unfold.

Tempos in the five sections were brisk with section clarity brilliantly showcased, so different from the Concerto. Mr. Gergiev’s famous conducting technique with fluttering hands and seemingly awkward movements around a nonexistent podium, is sharply different from the “control” approach of conductors such as Bruno Ferrandis, Michael Tilson Thomas and Alan Gilbert. But make no mistake, control he has, and he crafted an orchestral fabric of great beauty and intense communication.

It’s impossible to single out the ensemble’s principals in the Strauss, as no names were in the printed program, and there was no identification in the Mariinsky’s Russian websites. However, I would be remiss not mention the concertmaster’s soaring solos; the elegant and commanding oboe, clarinet, flute and bassoon playing; and the superb unisons in the horn and trombone sections. Mr. Gergiev paid little attention to extended romantic ritards, preferring to use perfectly placed cutoffs to underscore drama, especially in the Hero at Battle section. The final ascending phrases in the solo violin were elegantly shaped by the conductor, and the long fermata that ended the 42-minute work that for me could have gone on for minutes.

This Ein Heldenleben was a champagne orgy of orchestra sound, perhaps surpassing even the glorious concerts in Weill years ago of the Russian National Orchestra, the San Francisco Symphony and the Vienna Philharmonic.

The tumultuous applause produced an encore, a short brassy fanfare from Wagner’s opera Lohengrin.

Shostakovich’s E-Flat Major Symphony, Op. 70, opened the program and quickly disclosed the Mariinsky’s virtuosity. This Haydnesque Symphony is not to everyone’s taste, and some find it frivolous and overly brittle. I found the performance marvelous, the music fitting the St. Petersburg forces like an old shoe. The orchestra played it with great fervor and panache. Piccolo and flute playing was exemplary, as was cohesion in the upper strings. And the string mass, with second violins stage left, was rich and commanding.