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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
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, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
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 evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
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.