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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
Sonoma State University Symphony / Sunday, April 29, 2018
Alexander Kahn, conductor. Jonathan Dimmock, organ

Jonathan Dimmock (far left) and Alexander Kahn (far right) April 29 in Weill (JCM Photo)

ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL

by Terry McNeill
Sunday, April 29, 2018

Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed.

Avec l’orgue (with organ) was the concert’s title, and since Weill Hall has no resident organ, an explanation is necessary. There was once a plan to have the Schroeder Hall organ’s sound connected to Weill’s speakers hanging from the ceiling, and the Schroeder organist watching the Weill conductor through closed circuit TV. That idea was abandoned, and now an electronic instrument is brought to the stage, in this event a first-cabin three manual unit. San Francisco organist Jonathan Dimmock played it splendidly throughout the afternoon.

SSU faculty artist Alexander Kahn conducted in a style sharply different from the past 20 or so conductors in Weill, choosing conservative and elegant cues and gestures rather and the extravagant control mechanics and dynamics Santa Rosa Symphony conductors such as Bruno Ferrandis and Francesco Lecce-Chong employ. One exception to the one/twenty ratio comes to mind, when Valery Gergiev’s conducted the Mariinsky Orchestra in Weill in a sensational Strauss Ein Heldenleben early this year in his unique “fluffy” arm/hand style. The Mariinsky was one of a handful of superlative orchestra concerts since the hall opened in 2013.

The St. Saëns C Minor unfolded with an initial lovely mystery, deftly drawn by Mr. Kahn, and the organ had ample sound and seemingly greater reverberation time than Weill usually produces. As the 54-person orchestra was composed of community and student players, the usual benchmarks of crisp ensemble, exact string pitch, unified brass attacks and theme projection in the violins needed critical adjustment. That said, there were some convincing performances throughout, especially duos with the violas and cellos, powerful brass outbursts, horn and cello responses and pungent percussion sounds and cymbal crashes. Flutist Alyssa Cunningham and clarinetist Ryan Perry played lovely solos, and Pedro Estrada led the three-person percussion section.

The great bottom C Major organ note opened the final section with majesty, and Mr. Kahn lost no time in bringing the allegro moderato to a rollicking conclusion. The piano part in the finale (two and four hands) was briefly audible, and Mr. Dimmock’s chordal playing, heard only in two parts of the 1886 Symphony, sporadically overpowered the orchestra in a rich sonic mass. But it’s that kind of piece, a champagne festival of glorious sound, and may have been a North Coast premiere.

The St. Saëns was preceded in the first half by Dukas’ Fanfare from the 1911 ballet La Péri, and Poulenc’s G Minor Concerto for Organ, Strings and Timpani. With 11 players sited high in the balcony behind the stage (four horns, tuba, three trumpets and three trombones) the snappy Dukas work passed without much notice, and in a way so did the Poulenc. Most of the Concerto, finished in 1938, differs from the more familiar Poulenc of urbane French charm, light sarcasm and slightly melancholic tunes. The single-movement music had a movie score character for the first section, and then the Orchestra seemed to catch its stride in the following part of lighter textures and faster tempos. High string intonation in the tempo allegro, molto agitato was a challenge, but the five cellos and two double basses gave a sonorous foundation for the entire 24 minute performance.

The audience of 200 gave the Poulenc performance a short and subdued applause.