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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...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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.