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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
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 – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s 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 Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s 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 College’s 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 Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s 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 program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, May 06, 2018
Bruno Ferrandis, conductor. Jan Mikusek, cymbalom

Conductor Bruno Ferrandis

FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY

by Steve Osborn
Sunday, May 06, 2018

Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the helm with an unforgettable performance of Mahler’s Ninth Symphony. Some audience members took photographs to commemorate the event, but the most vivid remembrance is of the beautiful sonorities and hushed expectancy of the symphony’s closing moments.

At 80 minutes, more or less, the Mahler could have constituted the entire program, but a wine-sipping intermission was obligatory, so Ferrandis and company opened with “Temporis,” a 2015 concerto for cimbalom by the Czech composer Michal Rataj, with cimbalom soloist Jan Miku[ˇs]ek.

The concert cimbalom is a trapezoidal Eastern European instrument that resembles a horizontal harp, with strings that are struck by mallets, plucked with fingers or otherwise set to vibrating. The sound that emerges is reminiscent of plucked piano strings, with considerable resonance but not much volume.

Rataj’s score harnessed these resonances to the orchestra by setting most orchestral dynamics at pianissimo and alternating orchestral bursts with cimbalom solos. The resulting sound was often ethereal, tenuous and ghostly. At times, the cimbalom sounded like bells, but more often like a cloud of notes gently settling over the stage.

While the acoustics were striking, the underlying musical form was evasive. Forward motion and thematic development were hard to detect under the obscuring sonic mist. The conclusion was memorable, however. First Mikusek sang a wordless phrase, and then he seemed to make every string on the cimbalom resonate at once, erecting a veritable wall of sound that slowly dissipated. He followed with an encore of more traditional cimbalom repertoire, singing the Czech folk song “Up on the Hill” while accompanying himself on his instrument. The blend was irresistible.

Cimbaloms were popular in Mahler’s day, but he didn’t include any in the massive 90-person orchestra required to play his final symphony. Virtually every section of the ensemble increased in size, nowhere more so than in the woodwinds, whose numbers doubled. Pianissimo markings were abundant, but so were thundering crescendos, triple fortes and, more than anything else, the composer’s premonitions of his impending death.

The Ninth opens minimally in the cellos and horns, but it soon evolves into a full-throated roar marked by a descending two-note motive. Ferrandis was by turns restrained, animated and energetic as he guided the players through the opening movement’s many twists and turns. A feeling of expectancy suffused the playing, even as harmonic resolution kept receding in the distance.

The challenge of the first movement is to keep the story moving forward and not let it get buried by the incessant barrage of notes. Here Ferrandis and the players succeeded admirably. They played each of the many climaxes at full force, but they never let up in the ensuing moments of quietude. One could hear the sounds of doom in the woodwinds and brass as the orchestra finally wound down with a series of exquisite solos from the principal horn, violin, oboe and harp.

In the second movement, the mood changed abruptly to a country dance in three-quarter time. The playing was jaunty and the oft-repeated trills impressive, but the tempo often dragged. In contrast, the third movement was a whirling dervish, with frenzied playing all around. The movement opens with a simple three-note motive that is handed from section to section, like a fugue. The complexity and tension mounted until a beautiful solo from the principal trumpet slowed everyone down. Ferrandis guided the orchestra expertly through the sudden change and kept pushing through the inexorable build-up to the presto closing.

Such an invigorating ending might satisfy a lesser composer, but Mahler sets all the preceding movements aside to embark on his last, one of the most gorgeous in the repertoire. The violins opened with a magisterial melody, followed by a superb horn solo as the violins hovered above, in nearly perfect intonation. A sense of finality crept in as all the strings joined in the lament. The moment was so spine-tingling that the elderly couple next to me suddenly grasped each other’s hands.

After the strings relented, the woodwinds took over, slowly building upward with a series of commendable solos. The entire orchestra joined in for a triple-forte climax, immediately followed by a triple piano. A hush descended on the audience as the symphony gradually faded away, marked by an elegiac solo from the principal cellist and a last word from the violas. Ferrandis extended the silence for a long moment, gathering his composure before bidding farewell to the cheering crowd.