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MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
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.]