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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...
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
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
SYMPHONY REVIEW
Marin Symphony / Sunday, October 28, 2018
Alasdair Neale, conductor. Dylana Jenson, violin

Conductor Alasdair Neale

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 introduction of the Tchaikovsky, setting the stage for the entry of few cadenza-like bars from soloist Dylana Jenson’s broadly lyrical main theme. There are many ways to interpret this 1878 work, usually a high-powered virtuosic showpiece with muscular virtuosity, but this afternoon Ms. Jenson chose a low-voltage approach. With the hall’s direct and non-reverberant sound, her playing had clarity and often elegance, but was frequently covered by the orchestra. A similar understated performance in the same hall and orchestra was in the 2016 Jennifer Koh Barber Concerto, but a big violin sound can be had here, as Vadim Gluzman proved many seasons ago.

Ms. Jenson played the cadenza (the composer’s own; are there others?) well with exemplary bow control in the top register and with small tailing off at phrase endings, limited swelling on individual notes and immaculate scales. Mr. Neale held the orchestra back at places, deferring to the soloist.

All through the performance Ms. Jenson was never in a hurry, preferring a chaste projection of themes in the allegro and andante movements, and melding flawlessly with solos from flutist Katrina Walker and clarinetist Arthur Austin. The violinist’s trills were not only fast but deftly shaped, and she commanded a spiccato technique that was admirable.

In the concluding allegro the workmanlike solo interpretation continued without many intriguing ideas or playing that didn’t emerge from the orchestral fabric with any commanding sonic projection. Oboist Margot Golding played beautiful responses to Ms. Walker, and Mr. Neale provided solid support to the rhythmic of the dance and at times the bass-heavy second theme.

The audience greeting the low-temperature reading with an extended standing ovation.

Following intermission Mr. Neale drew from his orchestra an extraordinarily lucid and powerful reading of the Shostakovich Symphony, a four-movement work from 1953. Conducting without score (pretty rare these days, and somewhat dangerous) Mr. Neale let this majestic and sporadically menacing piece unfold naturally, building sonically thrilling climaxes throughout, as the composer (with perhaps symphonists Tchaikovsky, Bruckner, Mahler and Sibelius) could uniquely construct. The darkly brooding moderato, lasting almost 30 minutes, was brilliantly played. Mr. Neale avoided milking the long and often loud phrases, clearly wanting the momentum to have a natural pace and sensibility. I suspect Mr. Neale knows well the composer’s rarely performed Fourth Symphony (1936), with its deep bass and cello underpinning, and at this concert he seated the low strings stage left for additional sonority.

Beautiful clarinet and horn playing characterized the first movement, and a piccolo duet (Ms. Walker and Sasha Launer) was captivating. The composer writes masterfully for this instrument.

The short scherzo had terrifying impact with relentless speed and raucous intensity, the trombones especially potent. Several violinists could not quite keep up with the breakneck velocity, and the ensemble was at times blurred. Horn playing in the third movement allegretto was almost impeccable, with principal Darby Hinshaw sounding richly above his orchestra colleagues, and lead to a laconic and characteristically melancholic Shostakovich thematic response from Ms. Walker sorrowful clarinet phrases.

Sterling wind playing continued into the finale (andante – allegro) where the conductor continued to fashion a glorious rubric of rich sound, keeping the many threads of this complicated music well in hand. Standout soloists here were Mr. Austin, Ms. Walker (projecting a theme which was a call to musical battle), the cello section and bassoonist Carla Wilson. The Marin Symphony’s four-horn section played the tricky four-note ascending and descending phrases in unison.

This performance was among the finest I have ever heard from the Marin Symphony, in a work that demanded astral virtuoso accomplishment from each section. However, the hero of the afternoon was Mr. Neale, whose conception and authority in Shostakovich’s music were marvelous to experience.

Bravos erupted at the end of the 59-minute odyssey, and the ovation was long and resounding.