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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
Chamber
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...
Chamber
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...
Chamber
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 09, 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...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.]