Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 16, 2019
Norman Gamboa, conductor. San Francisco Conservatory of Music Pre-College Division Competition Winner as Soloist (TBA)

Violinist Pierce Wang with Conductor Norman Gamboa

ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON

by Terry McNeill
Saturday, November 16, 2019

Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award.

It’s pretty hard to not move your body with Rossini’s infectious rhythms and thematic charm, and the audience of 200 seemed to enjoy doing so, even with conductor Norman Gamboa adopting mostly poky tempos and conventional phrasing. The horn section sounded pungently brassy and oboist Chris Krive’s elegant playing paralleled the virtuosity of Debra Scheüerman’s flute and the smile inducing high-wire piccolo line of Emily Reynolds. This Overture from the early 1820s is a sure-fire opening for whatever comes next in the program, usually musically disparate. Loud bravos and applause were heard.

And different Prokofiev’s D Major Violin Concerto was, with the young soloist Pierce Wang playing without score, and though it took a while for him to get going, he did catch the mysterious shimmer of the opening chords. His upper register was his most secure, and the So Co Phil woodwind section gave admirable support throughout the opening Andantino – Andante. Christina Kopriva’s harp solos were always audible. In the second Adagio di molto movement the composer’s dissonant harmonies were strikingly played in the brass and Mr. Wang’s octave playing, with occasional pitch variance, combined in duos with the flute and piccolo. Ms. Kopriva played a lovely glissando half way through and the high strings sang again the melancholy first theme.

Fine bassoon (Miranda Kincaid) and clarinet playing were heard in the finale, with Floyd Reinhart’s tuba line heard clearly behind the pyrotechnical virtuosity from the soloist’s double stops, quasi-sarcastic tune projection and fast ascending scale passages. Surprisingly the Concerto ended with a long fermata in D major, and a return to the quiet shimmer of the opening. It was haunting and beautiful. The applause was long and strong, with a bouquet for Mr. Wang, one curtain call, a short speech by an SF Conservatory Dean, but no soloist encore.

There had been talk that County fire-related abbreviated rehearsals could affect the Orchestra’s ability to manage the many rhythmic complexities of Rachmaninoff’s Op. 45 Symphonic Dances. But no worry, as Mr. Gamboa drew a performance that underscored the composer’s brilliant orchestration with glittering playing in each section. In three loose movements the Dances have consonant harmonies and include sad themes with a seemingly Czarist Russian color and flavor. Contributing to the rich sonic mix were Mr. Krive and clarinetist Nick Xenelis; bass clarinetist Kathy Brooks, harp and Orchestra pianist Carol Schindler .

Short march sections featured four horns and at times three trumpets, and the playing veered in the Lento assai – Allegro from and occasional raw sonic “edge” to a swaying 1930s dance character, with difficult undulating passages for the violins. The conductor found the nostalgic warmth that underlies even the most demanding writing, a character of the composer’s music from this 1940 work and the A Minor Symphony (his third) that came just four years before. The woodwinds in this movement were first cabin, as were Dave Lindgren’s trumpet playing and the bright snare drum rattle from an unannounced percussion player.

It was altogether a wholly creditable and convincing concert, the second in a set of two. Mr. Gamboa conducts an all French program (Debussy, Ravel, Berlioz) the first two days of February in Jackson, the Philharmonic’s penultimate concert of the 2019/2020 season.