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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
Ukiah Symphony / Sunday, December 08, 2019
Phillip Lenberg, conductor. Polina Sedukh, violin

Violinist Polina Sedukh

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 joined the College faculty. Clearly it was time to hear how the USO would sound under different leadership.

The initial answer was problematical, as the two Sibelius Valses (Romantique, Op. 62b, and Triste, Op. 44, No. 1) received lackluster performances with spotty attacks and shaky string pitch. The tempos Mr. Lenberg selected were quite slow and even the ever-popular Triste lacked lift and charm. Yes Triste’s character is sad, but sad with flow and subtle momentum.

So it was a pleasant surprise to hear the conductor draw from his orchestra a convincing interpretation of Schubert’s 8th Symphony (“Unfinished”), a two-movement work from the early 1820s. Here attacks and releases were lucid and there was exemplary brass playing throughout, the horns augmented in this concert by three Sonoma County Philharmonic players. The opening section was properly mysterious and even ambiguous, and there was fine thematic playing from clarinetist Nick Xenelis and oboist Beth Aiken over murmuring strings. The big Fortissimo chords were gripping, the conductor controlling section balances and underscoring the work’s violence with just a touch of warmth in the famous second theme played pianissimo.

The E Major Andante second movement was equally effective, beginning with the theme from cello and bass sections, and lovely wind playing with Mr. Lenberg sculpting a chaste oboe ritard before a second theme that was first introduced by the violins. The USO played wonderfully softly at the end, capturing the spiritual calmness of music that at times had strange outbursts and keys far from E Major.

Following intermission came Sibelius’ D Minor Violin Concerto with soloist Polina Sedukh. Playing from score Ms. Sedukh’s focused and shimmering opening phrases were perfectly taken up by the Orchestra, and her bright violin sound, accurate pitch and fast trills had the character needed for this magisterial work from 1905. Her sound was more persuasive in the lower register, but her command of changing vibrato and double stops was artistic. Her sonic power in the long Cadenza was ample.

In the Adagio there are two places were short ascending violin phrases, each ending in a repeat, each repeat best played at less volume and perhaps with a tiny ending ritard, are key to a stellar performance. Ms. Sedukh played both beautifully, as she did with the movement’s final notes, piano and sans vibrato. Elegant playing.

Occasionally in the finale the Orchestra played too loudly, covering the violin line. The soloist caught the intensity of the composer’s writing that in the Orchestra featured resonant trombones and horns. The violin part is virtuosic, at several places dropping from a stratospheric F-Sharp to a low beginning phrase of 13 ascending thirds, marked staccato. Many famous soloists can’t make the fall off, either delaying or slurring the marked upward staccato notes. Ms. Sedukh managed these demanding phrases with aplomb and deft authority.

The Allegro’s last chords brought a standing ovation from the audience of 300, with two curtain calls.

Since Classical Sonoma last attended USO concerts, extra-musical details have all been upgraded – marketing, printed programs, lobby food, the ever-present raffle and gratis entry to the adjacent art gallery. All seems to bode well for a successful tenure for Mr. Lenberg with his seasoned Orchestra.

Daniel Greenhosue contributed to this review.