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Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
Symphony
AMERICAN CLASSICS SPARKLE UNDER KAHANE’S BATON
by Steve Osborn
Saturday, March 16, 2019
Jeffrey Kahane, the Santa Rosa Symphony’s former conductor, returned to the Weill Hall podium on Saturday night, and the results were expectedly wonderful. The concert of American classics was by turns playful (Gershwin’s “An American in Paris”), emotional (Barber’s violin concerto) and triumphant (...
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, January 27, 2018
Norman Gamboa, conductor. Hans Brightbill, cello

Hans Brightbill Jan. 27 After Playing Elgar Concerto (J. Chilman Photo)

MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS

by Terry McNeill
Saturday, January 27, 2018

Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center.

Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaganza of orchestral color and virtuosic playing. Led with careful pacing by conductor Norman Gamboa, the work seemed shorter than its 36-minute duration, always a sign of a compelling conductoral vision and instrumental clarity in the 1916 work’s many sections. Initially the big brass choir (3 trombones, 3 trumpets, tuba and five fiery horns) set the sonic standard, taken up in the poco allegretto and poco adagio by the So Co Phil’s famously first-cabin wind section.

There is much Sibelius (and even Glazunov) in the Nielsen Fourth, and a lot is going on at once – a surprise solo cello line, “bird call” reprises from Emily Reynolds (piccolo) and flutist Debra Scheuerman, laconic wind phrases over pizzicato strings, and energetic continual tympani mastery by Anthony Blake. Mr. Gamboa kept control over a complex sonic mix right to the final accelerando climax with thunder from tympani stationed stage left and right.

Mention needs to be made of greater unanimity in the violins than in recent concerts, and at the beginning of the adagio the violins stated a theme of great breadth and authority, later supported by cellos and violas. Perhaps this intensity was augmented by the seating Mr. Gamboa has favored in recent years, with second violins at stage left in front of the bass viols. Shostakovich wrote climaxes as good as in this Nielsen performance, but more than 20 years later. The long diminuendos chosen by Mr. Gamboa deftly smoothed transitions, and there was ample instrumental “screaming” from piccolo, strings and clarinets. But what captivating “screaming” this music has.

Hans Brightbill was the soloist in the first half’s closing work, Elgar’s E Minor Cello Concerto, Op. 85. My guess is that the performance was the first large Elgar piece heard locally since Hillary Hahn played the Violin Concerto with the Santa Rosa Symphony (Jeffrey Kahane) in the old Well Fargo Center. Though of the same 36-minute duration, the Cello Concerto is more diffuse and wandering than the Violin Concerto, and Mr. Brightbill made a strong case for its inherent originality and occasional vehemence. The tempos were judicious and Mr. Brightbill exhibited a warm incisive sound, particularly in the low registers with a wide vibrato. His bow attacks were punctual and the playing was only lacking in accurate intonation and projection at the very top treble.

Warm applause from the audience and members of the orchestra were heard at the end of the final allegro and multiple presentation bouquets were passed to the soloist.

A beguiling curiosity opened the concert, Théodore Dubois five-movement Second Wind Suite, played by two clarinets, two bassoons, two flutes, horn and oboe, and without the optional string bass. This was light French whipped cream charm from about 1900, similar to Ibert, Chaminade and early St. Saëns. The ensemble played the bouncy phrases with often dance-hall swing, especially in the concluding menuet. It was refreshing music, beginning exactly at 7:30, but arguably passed without much notice compared with the monumental Elgar and Nielsen.

The Suite’s performers were not listed in the program, but included Ms. Scheuerman, Valerie White, Nick Xenelis, Cathy Brooks, Chris Krive, Miranda Kincaid, Steven Peterson and Eric Anderson.

Orff’s popular “Carmina Burana” will be the featured work in the Philharmonic’s next set, March 17 and 18. They will be joined by the Santa Symphonic Chorus and Santa Rosa Children’s Choral Academy, and singers Ivalah Allen, Mark Kratz and Igor Vieira.