Home  Reviews  Articles  Calendar  Presenters  Add Event     
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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 09, 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...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, December 03, 2017
Andrew Grams, conductor. Stewart Goodyear, piano

Conductor Andrew Grams

ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF

by Steve Osborn
Sunday, December 03, 2017

Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two.

Some of Grams’ inconsistency may have stemmed from his chosen repertoire. According to Symphony staff, each of the conductor candidates (Grams is the third of five) chooses his or her own repertoire, with the exception of the piano concerto. The only requirement is that at least one of the pieces needs to be “modern,” i.e., written after 1900. The previous two candidates chose works written within the last 20 years, but Grams played it safe by selecting Rachmaninoff’s “Symphonic Dances,” which hails from 1940 but is unabashedly Romantic. Grams’ other selections were Berlioz’s rarely performed “King Lear” overture and an orchestrated version of Debussy’s piano classic, “Clair de Lune.”

The choice of the King Lear overture was particularly unfortunate. In introducing the piece, Grams said that it “gets programmed rarely — and you’re about to find out why.” And indeed, there isn’t much to it. Grams asserted that the music “sounds like it would be from a mad king,” but to contemporary ears, it sounds pretty tame, almost like a Rossini overture. The musicians played well, and Grams conducted solidly, but there was no kindling to ignite.

In contrast, the subsequent Ravel concerto (the one for two hands) was crackling within seconds. Goodyear is a self-effacing pianist who plays it straight, but the sounds coming from his fingers are incendiary. His technique is dazzling, his rhythmic sense is infallible, and the speed with which he traverses the fingerboard is astonishing.

The first movement of Ravel’s concerto sounds like a French version of Gershwin’s “Rhapsody in Blue,” with some nearly identical phrases. Goodyear slid right into his part, balancing well with the orchestra while bringing out the syncopation. He likewise eased into the second movement, playing his simple but evocative part with great sensitivity. His playing was so peaceful and tranquil that it got everyone’s attention, and a sustained hush descended on the audience.

Goodyear broke the silence with a relentless perpetuum mobile in the Vivace finale. He played with tremendous energy, but was always in control and delightfully expressive. Grams and the orchestra matched him note for note, including a torrid bassoon solo.

After intermission, the attention was once again on Grams, who had arranged the orchestra in a somewhat unusual pattern of first violins, cellos and basses on stage right, with violas and second violins on stage left. The arrangement gave the orchestra a deeper sound, but it was often difficult to hear the violas.

The “Symphonic Dances” is one of Rachmaninoff’s best works. The driving rhythms and descending triplets in the opening bars become etched in the brain as Rachmaninoff restates, develops and expands upon them. Grams was precise in cueing entrances, and he paced the first movement exquisitely, the gradual build-up at the outset resolving into a thundering fortissimo.

Grams’s beat is easy to follow. His left and right hands function independently, allowing him to add expressive effects with his left. He used every square inch of the podium as he addressed the different sections of the orchestra.

Despite all that, Grams’s head often seemed to be buried in his score, detracting from full engagement with the orchestra. All the tempi and dynamics were there, but there were few sparks and not much forward momentum.

Thankfully, momentum arrived in the finale. Here Rachmaninoff displays his skill as an orchestrator, and the musicians proved equal to the task, negotiating the tricky rhythms and rapidly changing instrumentation with ease. Grams led them flawlessly and spiritedly.

Another odd repertoire choice ended the concert as a kind of encore: André Caplet’s orchestration of Debussy’s beloved piano piece, “Clair de Lune” (Moonlight). Here Grams was in his wheelhouse, evoking lush sound from the orchestra with grace and confidence.

Reprinted by permission from San Francisco Classical Voice