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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 st...
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...
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...
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...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
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