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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...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 9, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
SYMPHONY REVIEW
Marin Symphony / Sunday, April 28, 2019
Alasdair Neale, conductor. Oliver Herbert, cello

Alasdair Neale Leads Applause for Oliver Herbert April 28

MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN

by Abby Wasserman
Sunday, April 28, 2019

Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled like crystal.

It was Mozart’s practice to compose an overture after completing the respective opera score, so the piece contains intimations of all that is to come: evocation of earth and sky, a villainess and her minions, a master of mysteries, a pure-hearted hero and innocent heroine, lechery, danger, absurdity, love—all swirled into a joyful concoction. The performance was greeted by a capacity audience at the Marin Civic Auditorium with great enthusiasm.

Big, noble works with full orchestra filled the rest of the program: Elgar’s Cello Concerto in E Minor, Op. 85, with soloist Oliver Herbert, and Beethoven’s E-Flat Major Symphony, Op. 55 (Eroica). Mr. Neale has known Mr. Herbert since the latter was a toddler, and their comfortable rapport showed in a splendid reading of the Elgar. This weekend the cellist performed it for the first time in public, and it’s a work that demands technical excellence, tonal power, and lots of soul. Written as World War I was drawing to a close, it mirrors the anxious tenor of the times. Although Elgar lived another 14 years after its premiere, it was to be his last major composition.

Slow in gaining popularity, the concerto, which Elgar termed “a man’s attitude toward life,” is performed more today than most other Elgar compositions. For one critic it signified a “lament for a lost world,” and from the first deep expressions of sorrow, double-stop chords in E Minor, its sense of tragedy is always close by. Near the beginning of the first movement, the cello writing poses a rising series of quasi questions and sighs, which are answered by the violas and then the clarinets and bassoons. A melody of memorable sweetness and a pastoral, undulating passage raise the mood. Throughout the four movements of this epic work, the cello line questions, cherishes, anguishes, and seems to come to terms with the meaning of “a man’s life” in all its complexity. The orchestra playing was stellar, and Mr. Herbert communicated the concerto’s mixed emotions with great skill, heart and strength.

“Masterworks 4: Fearless,” the title for this concert, aptly describes Beethoven’s innovative Third Symphony, written in 1805. This was perhaps his greatest symphonic piece up to the time of its first performance, and wielded substantial influence not only on contemporary composers, but also in the short term influenced his six additional symphonies to come. Its motives and thematic development set a new direction for him; hints of this appear like golden threads in the fabrics of the 5th, 6th, and 7th Symphonies in particular. Although (or because of) suffering at the time from a rapidly accelerating hearing loss, he was able to forge a new, fearless path, breaking away from the Classical form and never looking back.

Forty-seven minutes in most performances, the Eroica presents something of a marathon for any orchestra, but the Marin forces played it beautifully. The first movement (allegro con brio) flings open the doors with two emphatic chords that lead quickly into a strange transition in the cellos to C Sharp. The instruments weigh in individually and in unison to sound a thrilling pulse, emanating great energy, a gathering of forces that never lets up. The second movement, Marche funebre (adagio assai) was a shock to listeners at the time, as there hadn’t been a funeral march before in a symphony. A fugue, led by the strings, was played powerfully through all the instrumental sections and resolved like a chorale before re-introducing the funeral processional. A staccato puttering Scherzo (Allegro Vivace) gave way three times to a mellow horn quartet, led by principal Darby Hinshaw, that might have been a call to the hunt. The movement hurried on energetically once more and ended much as it had begun.

The Eroica’s final movement reasserts the emphatic chords of the first movement, and quickly leads to a rondo, with restatements of motives and themes and a graceful rising to a coda that is its triumphal climax.

As the audience stood to applaud the sterling performance, Mr. Neale singled out in succession the strings, oboes, flutes, clarinets, bassoons, trumpets, horns, and timpanist Tyler Mack for special recognition.