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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
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...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 18, 2017
Norman Gamboa, conductor. Pam Otsuka, violin; Robby Morales, viola

Violist Robby Morales

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 School. The first of the set is reviewed here.

The Belgian composer’s only Symphony is difficult structurally to perform, though underpinned by the recurring them in each of the three movements. To some it’s a theme bordering on banality, and to others it’s a theme of nobility crafted and ingeniously developed by the seasoned master in 1889, shortly before his death. Conductor Norman Gamboa drew from his Orchestra a performance of considerable power and excitement. The many short climaxes of the opening allegro gave cumulative cohesion to the sound, with faint references to the beguiling contemporary harmonies of Wager’s operas and Liszt’s tone poems.

Christina Kopriva’s harp solo opened the andante were Chris Krive’s elegant oboe solo over murmuring string pizzicato was a highlight. Tempos were judicious throughout, and the sonic momentum of the first movement’s allegro returned in the finale. The brass sounded heroically and Anthony Perry’s plaintive English horn solos were handsome. Mr. Gamboa built an apex of Franck’s inspired drama, anticipating the cutoff at the ending that has always seemed to me too short and inconclusive. Audience response was warm and loud.

Mozart’s E-Flat Major Symphonia Concertante (K. 364) was the capstone of the first half and featured as soloists two of the So Co Phil’s principals, violinist Pam Otsuka and violist Robby Morales. Jeffrey Kahane conducted a memorable performance of the work in Weill two summers ago, and Mr. Gamboa’s interpretation shared many of the same felicities – attention to small details, chaste phrasing and soloist support. The music from 1779 is of course sharply different from the two other works on the program, with a reduced size ensemble and needing transparency of sound rather than robust volume and thick textures.

The long introduction (the soloists played through the tutti) to the allegro maestoso led to the opening solo entrances, both well played and indicating, especially in the cadenzas where seemingly ample rehearsal time was spent. The goal here is to capture the music’s delicacy, but always wrapped in impeccable instrumental technique and balance. It’s odd that pitch and phrase coordination in these luscious cadenzaduos mostly avoided the intonation deficiencies and blurring in short trills and turns that were often present when playing in the first movement’s ensemble. Mr. Morales overcame these pesky problems in the lovely sadness and lament of the andante where his bottom register tone was burnished and secure.

Tricky horn phrases opened the presto finale and the orchestra exhibited some of the most cohesive playing of the evening, deftly controlled by the conductor. The slower-than-usual tempo allowed Ms. Otsuka’s violin line to soar and carry to the back row of the acoustically lively hall. Her violin tone was lambent, alternatively melding and contrasting with Mr. Morales. Greeting the soloists after the final convincing chord were a standing ovation and several presentation bouquets.

Opening the evening was a rollicking eight-minute playing of Shostakovich’s Festive Overture. It was a snazzy way to begin and always an audience favorite, as evidenced by recent local performances by the Santa Rosa Symphony, Russian National Orchestra, Mariinsky Orchestra and the Mendocino Music Festival Orchestra. Outstanding in this exciting romp were Mary Kemnec’s piccolo playing, and the persuasive solos of flutists Debra Scheuerman and Emily Reynolds. Mr. Gamboa conducted without score.