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Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork Ė a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday nightís concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bellís virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bellís regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bellís sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphonyís concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino Collegeís Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsorís Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphonyís second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the programís first half, conductor Alasdair Neale primed the audience for the ďterra incognitaĒ of Adamsí The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
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. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed.

Avec líorgue (with organ) was the concertís title, and since Weill Hall has no resident organ, an explanation is necessary. There was once a plan to have the Schroeder Hall organís sound connected to Weillís 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 Gergievís conducted the Mariinsky Orchestra in Weill in a sensational Strauss Ein Heldenleben early this year in his unique ďfluffyĒ arm/hand style. The Mariinsky was one of a handful of superlative orchestra concerts since the hall opened in 2013.

The St. SaŽns 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. Dimmockís chordal playing, heard only in two parts of the 1886 Symphony, sporadically overpowered the orchestra in a rich sonic mass. But itís that kind of piece, a champagne festival of glorious sound, and may have been a North Coast premiere.

The St. SaŽns was preceded in the first half by Dukasí Fanfare from the 1911 ballet La Pťri, and Poulencís 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.