Cynthia Lu Receiving Applause Sept. 21

POTENT TCHAIKOVSKY INTERPRETATION IN PHILHARMONIC'S 25TH ANNIVERSARY OPENER

On balance the first concert of the Sonoma County Philharmonic’s 25th season Sept. 21 had symmetry - a masterful Mozart piano concerto, a world premiere of a trumpet work, and Tchaikovsky’s seminal Fourth Symphony, Op. 36, composed in 1878.

In recent years the Philharmonic’s orchestral strengths have been evident in first the winds (oboe, clarinet, bassoon and flute), followed by the brass and lows strings. All were on sonic display in the wonderful F Minor Symphony, where conductor Norman Gamboa fashioned a reading of commanding grandeur at perhaps a few judicious tempos, even in the waltz. There was much good playing in the brooding opening movement, the horn motives contrasting with flute (Debra Scheuerman), clarinet (Nick Xenelis) and bassoon (Steven Peterson). Mahler said a great symphony should encompass a world of emotions, and the playing here certainly did. High strings were strained to be in the mix.

Chris Krive’s oboe solo colored the laconic Andantino, both bassoons picking up the theme in lovely harmony, and the leading to the genius of the Scherzo’s perpetual pizzicato that was spread among each orchestral section. The audience broke into applause.

At the last time the Philharmonic mounted this symphony in the Wells Fargo Center, conductor Gabriel Sakakeeny cautioned that the famous concluding movement be played “not too fast.” Well, yes, it could go off the rails, but under Mr. Gamboa’s control it never did, and featured some of the evening’s best playing. At times the propulsive theme seemed headed for a crash, but the only crashes were the manifold cymbal crashes, where surprisingly Emily Reynolds’ piccolo could be heard, even with volcanic brass flourishes. Were there two cymbals at play?

The 48-minute performance was a ride in a demanding fast musical machine, a delight for the 200 in the Jackson Theater.

Two works comprised the first half, the A Major Concerto (K. 488) and the world premiere of Robert Litton’ Royal Oaks for Trumpet and Orchestra. The first featured Daniel Gianola-Norris’ splendid trumpet playing in a So Co Phil commissioned work that had a few Copland references and a lot of harmonic progressions and phrases pointing to movie background music. But Royal Oaks is much more complicated than the average film score, and the soloist, playing from score, produced long held notes of unvarying penetration through the orchestra and with riveting intensity, sometimes in parallel with chimes and Christina Goodwin’s harp solos. The march sections added rhythmic flexibility.

It was an effective composition, possible a little extended, and spotlighted Joseph Lang’s percussion section

Though the Theater’s guest piano could not be heard in the Royal Oaks, it was front and center for the Concerto, ably played by Cynthia Lu from the San Francisco Conservatory’s Preparatory Department. Ms. Lu was the winner of the Orchestra’s Brian Lloyd Concerto Competition, and played an instrument warmly voiced and taking advantages of the soloist’s fluent scale technique. Again the conductor chose a less than usual tempo that over 28 minutes generated an interpretation that was a little underpowered but portrayed the piece’s myriad beauties captivating grace.

It's a chamber music-sized work and Ms. Lu made the most of the ever-present lyricism and many reminders of themes that sound constantly vocal. The melancholic playing in the Adagio’s bassoon parts was especially fetching, Miranda Kincaid joining Mr. Peterson. The romp in the finale finally brought spirited Forte playing from horns and strings, Ms. Lu always perfectly in accord with the ensemble and playing loudly only in the last measure.

A hearty ovation greeting the performers and Ms. Lu accepted the obligatory soloist’s bouquet with charming modesty.

Among the Philharmonic’s many benefactors is Ric Overton, Kassman Piano Company owner in Berkeley, and a generous supplier of rare Steingräeber instruments for the Orchestra concerts with piano.