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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
Marin Symphony / Tuesday, May 01, 2018
Alasdair Neale, conductor. Zuill Bailey, cello

Cellst Zuill Bailey May 1 At Marin Symphony Concert (AW Photo)

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 musically, as conductor Alasdair Neale pointed out in a brief introduction to the program, they had in common a mastery of orchestral colors and the ability to tell a story.

Strauss’s one-movement Serenade for Wind Instruments in E-flat Major opened the program. Scored for thirteen players, the standard double winds plus four horns and contrabassoon, it is in sonata form and has the feel of Strauss’s hero Mozart. It was composed when Strauss was only 17, and was his first major success as a composer. Chorale-like harmonies and lyrical solos by each instrument in turn had the ease and comfort of long intimacy. The piece conjured a verdant countryside and changing skies. Despite a brief juncture when the ensemble seemed to waver, it was a charming introduction to the youthful Strauss and set the stage for a tone poem from his maturity, Don Quixote (Fantastic Variations on a Theme of Knightly Character, Op. 35), featuring cellist Zuill Bailey as the misguided Don who is sure that what he sees is real, when nearly always it is not.

Based on picturesque incidents in the Cervantes novel, Strauss’s 40-minute vivid soundscape makes full use of the symphony orchestra’s colors. Written the same year as tone poem The Hero’s Life and closely followed by Thus Spake Zarathustra, this is Strauss at his most powerful. Mr. Bailey is a nuanced performer and riveting to watch. His cello playing had gorgeous duets with concertmaster Jeremy Constant’s violin (the youthful spirit of Don Quixote) and with violist Jenny Douglass as Sancho Panza. Tubist Zachariah Spellman underscored Sancho Panza’s common sense and genuine warmth. Through the medium of his amber-hued cello, Mr. Bailey gave life to the Don. And within the orchestral soundscape, beautifully shaped by Mr. Neale, all the characters were clearly heard: the trotting of Don Quixote’s horse, Rocinante; the herd of sheep that Quixote believes are an army; the windmills he is certain are evil giants.

The orchestra played well and there was palpable camaraderie among the players, conductor, and soloist. Each emotion so eloquently formed in Mr. Bailey’s cello lines were elegant, and near the end, when the music suggests the demise of the elderly knight, Mr. Bailey remained motionless until the conductor lowered his baton. The audience rose with an ovation, and the soloist, presented with a bouquet, graciously re-gifted it to Ms. Douglass, who beamed.

For the second half Mr. Neale and the orchestra turned to music by Stravinsky, prefacing a major work, Suite from the ballet The Firebird, with a small one, Scherzo a la Russe. This spritely, modern-sounding one-movement piece was first orchestrated for the Paul Whiteman Band, and re-orchestrated and premiered in 1947 by the San Francisco Symphony, conducted by the composer. Based on Russian folk songs, the piece often sounds as though it belongs to Stravinsky’s early ballet, Petrouchka. Full of sharp, dotted rhythms and possessing a frenetic energy, it was performed by the MSO with great style. Its ending is a complete surprise, abrupt and unexpected. To emphasize this, Mr. Neale spun on the podium after the last note and the orchestra leapt to its feet. Delighted laughter from the audience mingled with applause.

With the Firebird Suite the MSO entered a magical world of fairy birds, princesses, and evil sorcerers. The full ballet debuted in 1919, and Stravinsky subsequently adapted the music to form three concert suites, of which this is the most frequently performed. Principal cellist Madeleine Tucker’s solo was among the notable threads in this beautifully textured tale. Its five movements include the enchanting dance of the Firebird, the dance of captive princesses (with lovely solos by flute and oboe). In the infernal dance of the villain, King Kashchei, the percussion section shone, and in its enthusiasm almost overwhelmed the rest of the orchestra. The gentle, swaying Berceuse revealed the extraordinary cohesion of the string players, the violin section’s ensemble a whisper beneath Carla Wilson’s gorgeous bassoon solo. The Finale brought back the Princesses’ theme and rose to an exciting climax. The audience responded with a standing ovation that lasted through the curtain calls as Mr. Neale acknowledged each of his soloists with great appreciation.