Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
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 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...
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...
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 / Monday, October 07, 2019
Francesco Lecce-Chong, conductor. Garrick Ohlsson, piano

Conductor Francesco Lecce-Chong

ORCHESTRAL VIRTUOSITY IN SR SYMPHONY'S 92ND SEASON OPENER

by Terry McNeill
Monday, October 07, 2019

Season-beginning orchestra concerts usually feature a splashy mix of overture/fanfare, a sonorous symphony and a virtuosic concerto. Santa Rosa Symphony’s Oct. 6 opener in Weill Hall had a contrary design with two new works and a Richard Strauss symphonic showpiece tone poem. Sunday’s afternoon’s concert in the set of three is reviewed here.

Somehow a Beethoven Concerto slipped into the mix, with San Francisco based virtuoso pianist Garrick Ohlsson the soloist with resident conductor Francesco Lecce-Chong on the podium. Mr. Ohlsson’s chaste opening phrase in the G Major (Op. 58) Concerto led to an ethereal orchestral start and judicious tempos throughout the allegro moderato. Everything was in balance and themes were limpid and clear to my balcony seat. Several years ago in recital Mr. Olhsson played with the largest piano sonority I have yet heard in Weill, with Liszt’s great “Weinen, Klagen” Variations. Horowitz and Hofmann sonority. But this afternoon he aimed at a refined and balanced interpretation, occasionally surprisingly breaking a chord but eschewing inner voices or harmonic pointing.

In the midst of genteel orchestral support the pianist displayed in the first movement many examples of his stellar art with expressive trills and deft control of pianissimo, but also much that was conventional. Outside of routine, Mr. Ohlsson’s pedal technique missed the opportunity for resonance (full pedal) and taking advantage of the potent orchestral tutti before restating the opening theme fortissimo in the middle of the movement, but he did hold the pedal through the final three chords, a nod perhaps to virtuoso tradition.

Playing in the andante was elegant throughout with deft pauses in the unfolding soft drama, leading inexorably to a lively rondo with Mr. Lecce-Chong in steady control. Again Mr. Ohlsson took a restrained interpretative approach, but it’s that kind of piece with ample subdued drama. He played the Beethoven cadenzas in the first and third movements, the latter with marching left-hand phrases and much half pedal. Though dozens of innovative cadenza alternatives exist, the composer’s own seem alas to be the rule these days.

There was a standing ovation, followed by a lengthy intermission, and the second half began with composer-in-residence Matt Browne’s How The Solar System Was Won. Lasting just eight minutes the work is steeped in contrasts, opening with an eerie shimmering voice in the strings and moving to expertly played instrumental solos from the flute, piccolo, brass brilliance (three each trumpets and trombones), Andrew Lewis’ tympani and distinct wood block and xylophone sound from three percussionists. There is some cacophony in this music, leavened by lyrical playing from the first violin section.

The composer made charming explanatory remarks from the stage prior to the tour de force performance, and appeared at the end to loud applause.

Over 60 musicians were on stage for the concert’s finale, Strauss’ 1896 Also Sprach Zarathustra tone poem. The famous brass and organ opening was suitably powerful, and the conductor perfectly shaped the sound and the eight subsequent parts that are at times meandering but also replete with splendid individual playing. Some of the highlights were John Freeman’s trumpet work, chirpy flute and piccolo playing and rich sound from Andy Butler’s five contrabass musicians.

The performance was packed with imposing juxtapositions – long sections of lugubrious sensuality and then explosive outpourings of sound, even in the short fugue that had accelerated speed. Clarity of texture came with Mr. Lecce-Chong’s attention to section detail, to the point that even the two harp, tuba and organ parts were lucid.

This work demands impeccable playing from the first violins, and it was so in this performance, reminiscent of the Strauss Ein Heldenleben on the Weill stage three years ago from the Mariinsky Orchestra and conductor Valery Gergiev. The concertmaster then played like an angel in the many solos, and his counterpart here, Joseph Edelberg and his exemplary violin colleagues, did likewise, often in fetching lyricism over the flutes and clarinets.

The audience of nearly 1,300 clapped vigorously, and the Mr. Lecce-Chong motioned for many of his musicians to stand to acknowledge the applause.

The concert began with Anna Clyne’s Masquerade, a short piece with obligatory noisy percussion effects and hoary banal melodies, and passed with little notice.








cix porn
hard porn
kostenlose porn
amateur xxx
love porn
amateur sex
hd porn free
3 xxx
moblie porn