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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
Santa Rosa Symphony / Sunday, May 5, 2019
Bruno Ferrandis, conductor. Alexander Toradze, piano

Pianist Alexander Toradze

ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY

by Steve Osborn
Sunday, May 5, 2019

An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony concert, led by conductor emeritus Bruno Ferrandis.

The movement in question was the central Andante of Shostakovich’s Piano Concerto No. 2, a crystal-clear mountain lake perched between two torrential Allegros. The elfish Mr. Toradze, a last-minute substitute for an ailing Olga Kern, established a commanding presence in the opening bars of the first movement and never let go. Planted firmly on the bench and staring down at the keys, he projected well and generated lots of volume, aided by Ferrandis’s strong command of orchestral dynamics. Mr. Toradze’s runs up and down the keyboard were energetic and flawless, and he was wonderfully responsive to his fellow players.

Shostakovich wrote the concerto for his pianist son, and the first movement is a playful romp designed to show off the piano’s brilliance amid some inventive orchestration. The movement ended with wild applause followed by laughter as Toradze pretended to shake out his hands after their strenuous exertions. The laughter turned to pin-drop silence moments later as the orchestra established a lush background, followed by a series of magically suspended notes from the keyboard, a la Rachmaninoff. Mr. Toradze played his haunting melodies at the edge of audibility, floating above his accompaniment like a beneficent cloud. The end, when it came, was all too soon.

Mr. Toradze then segued effortlessly into the concerto’s sprightly finale. He replaced his languid sustains with a virtual perpetual motion machine, racing around the keyboard faster and faster until he achieved warp speed, bringing the orchestra along with him. A thrilling timpani flourish brought the proceedings to an end.

The raucous audience insisted on an encore, so Mr. Toradze asked which movement they would like to hear again. The consensus was for the second movement, even though some audience members lobbied for a complete repeat. The second time through was even better than the first. All you had to do was close your eyes and float away.

Before the Toradze fireworks, the Symphony set the mood for an afternoon of Russian music with a beguiling performance of Stravinsky’s Scherzo fantastique, an early work with several hints of the genius to come. One hint is the characteristic Stravinsky sound of sharply etched winds against a shimmering wave of strings. Others include persistent syncopation and unusual orchestration.

Despite these hints of greatness, the Scherzo lacks an overarching narrative to tie the diverse musical strands together. The orchestra played well, but the piece sounded episodic and at times meandering.

The Tchaikovsky symphony (No. 5) that ended the program was another story altogether. The clarinet duet that opened the first movement, followed by magisterial lines from the strings, announced the beginning of a long journey, one marked by hardship and emotional upheaval. Ferrandis was full of nervous energy as he exhorted the strings to apply more vibrato and the orchestra to intone more forcefully. The result was deeply expressive playing, as the band leaned into syncopations, crescendos and a long series of cadences. The repeated ascents and descents seemed to mirror Tchaikovsky’s fervid mental state, where moments of elation lead inexorably to precipitous declines.

The French horn solo at the beginning of the slow second movement was beautifully played by Caitlyn Smith Franklin. Her mellow, fluid and expressive sound led to an equally rich melody in the cellos. The drama continued as Mr. Ferrandis encouraged rhythmic flexibility in interpreting Tchaikovsky’s dramatic score. The strings spoke as one, but the mid-movement brass fanfare served as the emotional peak.

The famous waltz in the third movement carried listeners into more familiar Tchaikovsky territory, with one inventive dance after another marked by rapid handoffs between the orchestral sections. The strings kept up a furious pace, and the long bassoon solo by Carla Wilson helped tie the disparate elements together.

The tragic theme of the final movement is stated at the outset, and the rest of the piece attempts to turn that tragedy into triumph. The pace soon quickened, and the players once again launched into a series of cadences, each one marked by meteoric rises and rapid falls. Through it all, the orchestra played impeccably, transporting the listener on a rolling wave of sound. A frenzied ending, marked by blaring brass and thunderous timpani, led to a final statement that felt at once heroic and ambiguous.

[Reprinted by permission of San Francisco Classical Voice.]