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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
Sonoma County Philharmonic / Tuesday, June 19, 2018
Norman Gamboa, conductor. Hans Brightbill, cello

Cellist Hans Brightbill June 19 With the So Co Phil in the Teatro Nationál (Mary GG Photo)

!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 don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuous prospects. They hit the proverbial home run in a convincing gala performance in the capitol San José’s historic Teatro Nacionál on the third day of an epic week-long Orchestra tour.

Led by Costa Rica native Norman Gamboa, the So Co Phil was augmented by nine local musicians (advanced students and several instrumental teachers) that added to the old hall’s warm acoustics and sonic heft. With several layers of ornate box seats and short sight lines, the Teatro embraced a direct orotund sound with reverberation just under one second. Perfect for the works Mr. Gamboa chose and had been perfected in dedicated pre-trip rehearsals and sound checks.

Chief among the four programmed works was Elgar’s E Minor Cello Concerto, Op. 65, with So Co Phil principal Hans Brightbill as the soloist. Mr. Brightbill has played the work three times since January, and has persuasive ideas about it that began with a solemn introduction and laconic lyricism that in subtle ways dominated each of the four movements. E Major sunshine sporadically broke through the sad but never despairing themes, only to return finally to the Minor. The soloist’s low register warmth and steady control of tempo led into a perfectly gauged pizzicato reference to the first theme and the beguiling next allegro molto.

Improvisatory in design, this movement received the cellist’s deft flexibility of phrase, mimicking his interpretation in the June 15 Bon Voyage Santa Rosa concert where poignant control of soft passages could easily be heard over the Orchestra. Mr. Gamboa fashioned nobility in the sound but never allowed the pathos to diminish. The finale’s light and joyous sections were tempered by Mr. Brightbill’s artful echoes of tunes of the preceding movements.

This complex but elegant work from 1919 received a performance that seemed to be a summary of instrumental introspection and chaste virtuosity, and sensuous agreement of conductor and soloist. Mr. Brightbill brought his own special instrument for the tour, the same for some section players but local instruments were supplied for tympani, percussion, harp and double bass.

Following intermission Mr. Gamboa drew from the Orchestra the best playing I have yet heard of Frank La Rocca’s Crossing the Rubicon, a 1994 piece that had an extra measure of sonic “shimmer” than in past performances. I suspect the additional string weight and theater acoustics made a difference, and for the first time Christina Kopriva’s harp part could be clearly heard, along with solos from clarinetist Nick Xenelis and jazz riffs from Tom Hyde’s always sterling trumpet. The conductor crafted distinct references to Copland’s early 1940 ballet pieces, Reich’s Music for 18 Musicians and Adams’ The Chairman Dances and Eldorado.

Completing the concert was the 1942 symphonic suite (arr. Robert Russell Bennett) from Gershwin’s 1935 opera Porgy and Bess. The playing was a feast of dramatic orchestral color in 29 minutes, with pungent solo playing all around: Jocelyn McCord (marimba); Ms. Kopriva; Robby Morales (viola); Miranda Kinkaid (bassoon); Chris Krive (oboe); Debra Scheüerman (flute); Emily Reynolds (piccolo); Pam Otsuka (violin); Gary Anderson (cello); Mr. Hyde and Mr. Xenelis. In several dramatic passages Mr. Gamboa drove the forte sound to the point that it generated tremors in the wood flooring of the second tier box where I was sitting. Fidgety feet indeed. The famous “Bess, You Are My Woman Now” aria had a memorable performance, highlighted by Mr. Morales’ rich viola realization. Anthony Perry’s English horn solo, mysterious and luxurious, reminded me of a similar statement in the Prelude to the third act of Wagner’s opera Tristan and Isolde. It was beautifully enigmatic. The Orchestra's three stellar saxophone players (Matthew Bringedahl and Jerome Flag, alto E Flat;Teresa Meikle-Griswold, tenor B Flat) added a unique sound that surprisingly blended well with the piquant Gershwin sonic texture. It was a fetching mix.

With such splashy orchestral playing an encore was demanded, and Mr. Gamboa complied with a strident and boisterous two-minute "Circus Galop" Sousa march. Percussion and cymbal effects slashed through the sprightly music, ending a special concert that saw the United States Ambassador to Costa Rica Sharon Day mount the stage to congratulate Mr. Gamboa and the Orchestra’s President David Poe.

In a musical gift to his native country, Mr. Gamboa programmed Costa Rican composer Julio Fonseca’s Suite Tropical: Fiesta Campestre, to open the concert. Somewhat of a specialty work for the conductor, as he learned the 12-minute Suite in his youth, he clearly relishes pushing the playing from all 12 brass/horn players to piercing levels. It’s that kind of piece, lavish with vivid effects and rhythmic sway, and Mr. Gamboa’s seasoned ensemble triumphed.

Two additional concerts in provincial cities are described in a separate article.