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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
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.