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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 10, 2010
Festival Orchestra, conducted by Daniel Pollack
Stephen Prutsman, piano
William Kligelhoffer, horn

Conductor Allan Pollack gestures to the Festival Orchestra after the Tchaikovsky Fifth Symphony

ALL RUSSIAN PROGRAM LAUNCHES 24TH MENDOCINO FESTIVAL SEASON

by Terry McNeill
Saturday, July 10, 2010

In a high-energy program of Russian music, conductor Allan Pollack and his Festival Orchestra opened the 24th Mendocino Music Festival season in grand style July 11 in the massive white tent on the Mendocino headlands bluff.

Even before the downbeat for the Shostakovich “Festival Overture,” Op. 96, the excitement in the tent was palpable. On mounting the podium, Mr. Pollack received a standing ovation mixed with yells and whistles. Clearly the audience honors his decades of musical work on the North Coast, and the Overture launched the entire Festival with sonic splendor. The opening flourish in the horns pressaged a big night for brass and Mr. Pollack drove the tempos throughout, leading to a romp in the coda. It was a weighty reading, lacking the usual Shostakovich acerbic texture but altogether effective.

Tchaikovsky’s Fifth Symphony in E Minor, Op. 64, was the evening’s highlight. Though cold fog swirled around outside of the tent, the “fate” motive of the first movement was warmly stated, first in the low strings and bass clarinet, and in the march theme. This is familiar territory for Tchaikovsky, the “motto” theme always in the low register The first block of four repeated chords (four times) was deftly handled by Mr. Pollack with a chaste ritard, giving just the right heft to the phrase. The clarinet solos from principal Art Austin were uniformly elegant, though the pungent horns tended to cover the strings, an all-evening deficit. Tchaikovsky’s counterpoint was here underlined by a lovely interplay of cellos, violas and again horns.

The famous horn solo that begins the second movement (after a long and muted introduction) was played tenderly and almost “sui generis” by William Klingelhoffer, followed by principal oboist Thomas Nugent’s emotional solo in the second theme. The third-movement Waltz was handled by the Orchestra with style, spotlighting Carolyn Lockhart’s bassoon artistry.

The finale was feast for trumpets and trombones, Tchaikovsky’s orchestration a vivid example of what he learned from his teacher Anton Rubinstein and how effectively he surpassed that master. Mr. Pollack kept everything in hand, the “fate” theme returning and the coda in every way triumphant. There was distinct voice leading and the secondary idea of a martial character, exemplified by a pulsating ostinato bass, rang throughout the hall. The ending, with rich brass phrases, was splendid. This movement seems overly long compared with the rollicking finale of the Fourth Symphony, the ideas piling up and sometimes difficult to follow.

The ovation for the conductor, his orchestra and Tchaikovsky’s genius was loud and long.

Ending the first half was a stalwart but somewhat unsatisfying account of Prokofiev’s Third Piano Concerto, Op. 26, with San Francisco-based Stephen Prutsman as the soloist. Mr. Prutsman’s playing of the popular work, seemingly a stable in every piano competition, was effective and provided fast scales in abundance. The problem in the performance was one of balance as the orchestral sound frequently covered the soloist. One could see Mr. Prutsman but could not easily hear him.

The machine-gun like rhythms of the finale were never a challenge for Mr. Prutsman, but the filigree on the edges of the composer’s demanding themes tended to be lost in the tent’s acoustics. The string entries were often ragged and there were sporadic bobbles in the horns, something of little import in this powerful concerto. No real pianistic “color” is needed for this work with its driving style and histrionics, and the soloist and conductor were of one mind.

A strange occurrence happened at the last fortissimo chord of the Prokofiev when the house lights were suddenly extinguished. Was it the impact of Mr. Prutsman’s pianism in the pungent treble of the piano? A too-energetic final downbeat from the conductor? A slip by a backstage technician? We may never know.