DRAMATIC SHOSTAKOVICH SYMPHONY CLOSES PHILHARMONIC'S 25TH SEASON

Sonoma County Philharmonic’s season ending concerts always program a work that can be a stretch for the all-volunteer orchestra, and April 12 and 13 found Shostakovich’s demanding D Minor 5th Symphony the piece de resistance.

The weekend pair of concerts, conducted by Norman Gamboa in his thirteenth year on the podium, were held in the Jackson Theater.

Glinka’s sprightly overture to his opera Ruslan and Ludmilla opened, and in just under eight minutes established a lively musical atmosphere, almost clamorous at moments. Seven cellos and three contrabasses gave the 1842 work strong foundation along with potent brass playing. A thrilling concert beginning, quick tempos, lots of variable dynamics.

Haunting string sonority was heard in the long Prelúdio of Villa-Lobos’ Bachianas Brasileiras No. 4, the upper string’s unusually accurate intonation sounding wonderfully with Mr. Gamboa subtly controlling the extended phrases. The music shimmered, leading into the Coral movement with a lovely marimba sound and fetching high register flute playing by Debra Scheuerman. The themes in the Aria movement were suave and compellingly played, spotlighting Jeff Barnard’s trombone part and contrabassoon. The finale Danza movement spotlighted splendid percussion playing.

This effective work from 1942 is complex, a 22-minute feast of compelling sound. From a balcony seat the Villa-Lobos’ sound was pliant and richly hued, tonal and complex.

Following intermission’s audience favorite raffle was the demanding Shostakovich from 1937, and the Philharmonic traversed 52 minutes of glorious orchestra sound, amply sprinkled with many instrumental solo parts. The violin playing of high repeated notes was immediately convincing through the initial prelude-like long first movement, the themes constantly evolving with celesta and piano (Carol Schindler), Chris Krive’s oboe part and flute and clarinet duets. Mr. Gamboa led a judicious tempo performance in the Moderato that was alternatively harsh, menacing, spacious and sometimes serene over 18 minutes that didn’t seem long at all. Shades of Mahler’s music.

A few ragged instrumental entrances marred the Allegretto but the horn section’s playing was outstanding. The music here tended to be a bit grotesque and sarcastic, a respite from the intensity of the first and third movements and spotlighted the five-person percussion section and telling snare drum, triangle and xylophone sound.

The great Largo is the work’s emotional center with splendid solo playing: Mr. Krive’s oboe, flute and Christina Goodwin’s harp part, Pam Otsuka (violin solos), contrabass parts moving into persuasive viola phrases and lovely playing from the winds, all building to compelling sonic climaxes. Oddly the violas and cellos were each split into two small sections, and there is no brass at all. Tremolos in the upper strings were forceful, as were harp and celesta duets. Throughout 15 minutes Mr. Gamboa fashioned music that had a mystical effect, with references to the sonority of Vaughan Williams’ symphonies. The themes here are extra lovely and extended, to haunting effect.

The martial tenor of the finale brought the Philharmonic’s brass to the musical front, the music seemingly optimistic with frequent tempo changes that the conductor managed with aplomb. Before the coda Mr. Gamboa shaped a moment of lyric repose, but clearly the potent and assertive Allegro would quickly overcome this short interlude with resounding climaxes punctuated to the final chords by lots of playing by cymbals, tam-tam and bass drum.

A boisterous standing ovation quickly erupted, ending the Philharmonic’s illustrious 25th season in high spirits. Mr. Gamboa and President (and bassoonist) Steven Peterson hosted a lavish buffet in the Jackson’s library, an annual tradition that was welcomed by the musicians, family members and guests.

The 2025/2026 season was announced by Executive Director Scheuerman, four sets of two concerts that begins Oct. 18/19 in the Jackson with music of Debussy, St. Saëns third Violin Concerto and Bartók’s exacting Concerto for Orchestra.