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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, February 21, 2009
Bruno Ferrandis, conductor
Garrick Ohlsson, guest artist, piano

Garrick Ohlsson, guest soloist, piano

SHIFTING THE CENTER OF ATTENTION

by Steve Osborn
Saturday, February 21, 2009

Symphony programs often resemble three-ring circuses, organized in time rather than space. In the first ring, the symphony offers an overture or similar fare to whet your aural appetite. Then, in the center ring, comes the main attraction, usually a soloist displaying his chops in a concerto or other showpiece. The final ring is reserved for a symphony or other lengthy work that exhibits the orchestra in its full glory.

The Santa Rosa Symphony’s program on Feb. 21 at the Wells Fargo Center hewed to the familiar scheme, except that the soloist, Bay Area pianist Garrick Ohlsson, played on both sides of intermission, first in Carl Maria von Weber’s Konzertstück, then in Manuel de Falla’s Noches en los jardines de España (Nights in the gardens of Spain). The former displayed Ohlsson’s staggering technical prowess to full effect, the latter offering more opportunities for musicality.

On this program, though, the outer rings eclipsed the ostensible star attraction. This was less a function of the performances than of the music at hand: Arnold Schoenberg’s Verklärte Nacht (Transfigured night) at one end of the program, Debussy’s Nocturnes at the other. When all was played and done, Schoenberg and Debussy put Weber and Falla in the shade.

Not that there’s anything much wrong with either of the concertante works, at least in the hands of Garrick Ohlsson. In the Weber he was commanding from the beginning, playing the opening phrase with as much space between the notes as forward momentum would allow. Every note was discrete, every tone fully resonant. Then came the full attack, marked by intense crescendos and accelerandos and devastating trills.

Throughout all his digital fireworks, Ohlsson sat imperturbable on the piano stool, his upper body planted like a tree trunk as his hands raced across the keyboard. He stared straight forward, occasionally looking down at the keys to make sure his fingers were still attached. He played impossibly fast, often interweaving his hands to dramatic effect. When he was done, the audience erupted in sustained applause.

It was thrilling playing, but the Konzertstück itself is little more than a standard-issue showpiece, patching together one motive after another to display the soloist’s prestidigitations. The rarely performed Falla promised a little more musical meat.

The first “night,” “En el Generalife” (In the Generalife), was somewhat skeletal, with lots of French Impressionist tremolos from the strings and many hand crossings from Ohlsson. Flesh began appearing on the bones in the second “night,” “Danza lejana” (Distant dance). The music turned more Spanish, with Music Director Bruno Ferrandis provoking some fiery tempos from the orchestra and Ohlsson matching them stride for stride. Sadly, the third “night,” “En los jardines de la Sierra de Córdoba” (In the gardens of the Sierra de Córdoba) with its hints of flamenco, didn’t seem to gel, either in composition or in performance.

The uncertain air of the Falla stood in contrast to the confident personalities of Schoenberg, whose Verklärte Nacht began the program, and Debussy, whose Nocturnes brought it to a magical close. The two pieces, both completed in 1899, are similar not only in their nocturnal subjects, but also in their emotional intensity and musical innovation.

Verklärte Nacht, originally for string sextet, was performed in the composer’s string-orchestra version, which adds basses, splits the various string sections, and frequently alternates between first-chair solos and full ensemble. The additional players make the work even lusher and more romantic than its erotically charged original, but often at the expense of clarity. Although Ferrandis pushed the rhythms and brought out some of the main themes, the orchestra was occasionally muddy. Nonetheless, the performance was heartfelt and emotional, nowhere more so than in a passage near the end where different players began arpeggiating over open strings. The effect of this clear sound after so much dense and often muted texture was liberating, even joyful.

Those same emotions were also at play in the Debussy Nocturnes. From the haunting opening for English horn, beautifully played by one of the symphony’s many unidentified freelancers, the piece transports its listeners to another world. Ferrandis exerted such control over the dynamics in this opening movement, “Nuages” (Clouds), that the entire auditorium was at times enveloped in silence.

The silence found its counterpart in the second nocturne, “Fêtes” (Festivals), which Ferrandis moved along briskly, with precise motions and fastidious attention to orchestral detail. The third and final Nocturne, “Sirènes” (Sirens), featured female voices from the symphony’s choir, blending seamlessly with the orchestra to evoke Debussy’s vision of temptation and longing.

The program ended as it had begun, on the outer rings. Somehow the center of attention had drifted to the edges.

[This article first appeared in San Francisco Classical Voice (www.sfcv.org), and is used by permission.]