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LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahmsí violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethovenís fifth symphony, he and his musi...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the eveningís orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results donít measure to expectations. With the Sonoma County Philharmonicís Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
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 lí...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
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.