Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!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 tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
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 ...
Symphony
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 musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, January 24, 2009
David Lockington, Guest Conductor; Carol Wincenc, Flute Soloist

SRS Guest conductor David Lockington

WELL WITHIN THE BOX

by Steve Osborn
Saturday, January 24, 2009

Before the Santa Rosa Symphony began its concert Saturday, the public-address announcer said there would be a short presentation on behalf of the Youth Orchestra. A tall, red-headed young woman then rose from the concertmaster’s chair and offered an exquisite reading of a brief, unidentified Romantic violin solo. After the applause, the Youth Orchestra manager strode to the stage, identified the soloist as the orchestra’s concertmistress, and informed the audience that the ensemble was only $10,000 short of the $289,000 needed to pay for a concert tour of Europe this summer.

It was heartening to learn that the Youth Orchestra is still thriving despite the economic downturn, and to hear the quality of one of its musicians. Less heartening was the apparent effect of the downturn on the Symphony itself. There were more than a few empty seats, including most of those in my balcony row.

Perhaps another reason for the less-than-full house was the absence of Maestro Bruno Ferrandis, who has developed an avid following in his few short years in Santa Rosa. His replacement, David Lockington, conductor of the Modesto Symphony, had large shoes to fill, along with some relatively unfamiliar repertoire — a double whammy.

Lockington is an unassuming, workmanlike conductor, as became immediately evident in the opening work, Carnaval for Orchestra, by the contemporary Puerto Rican composer Roberto Sierra. This work, premiered last year as part of the Magnum Opus project, could have been written many decades before. Taking an obvious cue from Robert Schumann, the five movements depict, in the composer’s own words, “five creatures of imagination,” namely gargoyles, sphinxes, unicorns, dragons, and the phoenix.

Using almost every instrument at its disposal, Sierra’s score evokes this bestiary mainly through orchestral color, with a plethora of muted trumpets, shimmering strings, eerie woodwinds, and all manner of percussion. Lockington kept all these elements under control with an unflagging beat and precise cues. He did not, however, bring much forward motion to the work.

That lack of motion is as much Sierra’s fault as Lockington’s. Like many composers of his ilk, Sierra seems content to paint a sonic portrait of a given image, but without investing that image with a temporal or narrative aspect. Through the density and variety of its sound, Carnaval engaged the senses, yet the mind wanted more.

Next up was another programmatic work, Bernstein’s Halil, for flute and orchestra, featuring the guest artist, Carol Wincenc. Modern flute concertos are a fairly rare breed, and this one almost doesn’t qualify as a solo concerto, given the prominent role played by an offstage alto flute and piccolo.

Bernstein wrote Halil to commemorate a young Israeli flutist killed during the 1973 Arab–Israeli war. As befits its subject, the piece is by turns elegiac and percussive, with a virtual army of snare drums replicating the drumbeat of war. Wincenc invested the score with a certain degree of emotion, yet her tone was a bit thin, and she was often upstaged by the offstage players. As if to atone for this shortcoming, she quickly launched into an encore, the Fantaisie by Fauré. This was short and sweet and allowed her to display some virtuosic chops.

After a steady diet of program music, it was a relief to hear the more abstract strains of Copland’s Third Symphony following intermission. This classically formal work contains some of Copland’s best music, from the open harmonies at the beginning to the well-known fanfare at the end. When performed with vigor and insight, it can be inspiring.

Unfortunately, Lockington’s natural restraint kept the symphony well within the box. Unlike Ferrandis, Lockington hardly moves when he conducts, and the players likewise kept to their notes without displaying much emotion. Too much of the playing was at the same level, a kind of tepid mezzoforte, without the full dynamic range that Copland’s music requires.

The strings were solid throughout, though the brass and woodwinds were occasionally ragged. Tempi were often on the slow side, particularly in the Andantino third movement, which often seemed on the verge of dissolving. Fortunately, the pace quickened in the last movement, and the brass and woodwinds offered several convincing iterations of the famous Fanfare for the Common Man. By the end, the glory of the writing overcame most of the performance’s shortcomings.

All in all, it wasn’t a great concert, but it offered some solid music-making and a glimpse of unfamiliar repertoire. More important, the donation table for the Youth Orchestra was mobbed at intermission, and the proffered hats were overflowing.

[This article first appeared in San Francisco Classical Voice (www.sfcv.org), and is used by permission.]