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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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