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Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
SYMPHONY REVIEW
Santa Rosa Symphony / Monday, February 18, 2008
Bruno Ferrandis, conductor
Ingrid Fliter, piano

Ingrid Fliter

AN OCEAN OF SOUND

by Steve Osborn
Monday, February 18, 2008

The Santa Rosa Symphony concert on Feb. 18 featured gifted local players, an internationally recognized soloist, and a superb conductor; but the real star was the sea, as evoked in a memorable performance of Debussy's "La Mer." The other works on the program (by Dutilleux, Beethoven and Fauré) paled in comparison to this French impressionist masterpiece.

The evening began not with music but with an evident change in the string sections. With the exception of concertmaster Joseph Edelberg and the principal violists, all the first and second chairs were either new or shuffled upward from the ranks. The same held true for the rest of the strings: some familiar faces but lots of new ones. As shown in "The Freeway Philharmonic," KQED's recent documentary about freelance musicians, the personnel in the Santa Rosa Symphony and other regional orchestras is constantly shifting. What is remarkable is how well Maestro Bruno Ferrandis is able to hold the orchestra together, despite its protean tendencies. Who knows what he could accomplish if his musicians didn't keep changing from concert to concert?

Speaking of inconstancy, the opening work, Henri Dutilleux's Métaboles, from 1965, was all about change. The work offered five slowly metabolizing movements, each one demonstrating how a musical idea can develop through orchestration, dynamics, phrasing, and other tricks in the composer's bag. The names of the movements speak for themselves: Incantatory, Linear, Obsessional, Torpid, and Flamboyant.

"Incantatory" was just that, beginning with plucked strings and light percussion, then gradually adding winds and brass. As the texture thickened, the strings broke out their bows, moving from individual droplets to waves of connected notes. "Linear" began with a beautiful solo from the freelance principal cellist (her name didn't appear in the program) and proceeded linearly through the orchestra at a luxurious pace. Attention in the next two movements shifted to the brass, which played jazz-like riffs above a walking bass line. The sound was often reminiscent of Miles Davis and Gil Evans recordings from the 1950s. The "Flamboyant" finale began with a rapid ostinato figure in the violas that got passed around until nearly every section in the orchestra was playing its own riff. The inevitable crescendo and climax were impressive, if somewhat predictable.

After the full-throated and resonant sonorities of the Dutilleux, the reduced forces employed for Beethoven's Second Piano Concerto sounded somewhat muted. It took a while to get used to the sonorities of an orchestra dominated by strings, with only a few token woodwinds and no brass or percussion. The emptiness could have been filled by the piano soloist, Ingrid Fliter, but her attack was so pointed and sharp that the notes didn't have much chance to resonate. At times, she made the upper registers sound almost like a fortepiano.

Fliter is clearly an accomplished pianist who can play all the notes, but she tends to let go of phrases too early and let them fade into nothingness. The various sections of the opening movement didn't flow into each other, leaving the impression of discrete passages rather than a connected work. In the slow movement, her touch was too heavy, and the piano didn't resonate. Her playing improved in the final movement, however, which she danced through in true Rondo form.

The second half of the concert opened with a delightful rendition of Gabriel Fauré's "Masques et bergamasques," a suite that he assembled after the First World War by orchestrating some of his older works. The four sections--Overture, Minuet, Gavotte, and Pastorale--come across like piano miniatures, full of life and energy. Maestro Ferrandis was clearly in his element, using a light touch to blend the orchestra and make it dance. He is truly a joy to watch, with his sweeping gestures and intricate hand movements. Each one means something to the orchestra, which in this case translated his gyrations into music of ravishing simplicity and joy. If only Fauré had written more.

In contrast to Fauré's string of pearls, Debussy's "La Mer" is an intricate necklace, painstakingly assembled from a treasure chest of sonic jewels. Debussy's orchestration is second to none, and he employs all the forces at his disposal to create a dynamic portrait of the sea in all its moods and weathers. Harnessing all those forces and moving them forward is the conductor's job, one that Ferrandis never shirks from. He emphasized fluidity above all, coaxing the orchestra to swell and recede like waves in constant motion. He also brought out the narrative line that sustains the listener's interest throughout the work.

The first movement, with its evocation of dawn over the sea gradually brightening to noon, moved inexorably forward, building to a spine-tingling moment at the end, when an imagined sun bursts forth in all its glory. The second movement, "Play of the waves," was dominated by a shimmering pair of expertly played harps, but the third movement was all Ferrandis, one's eyes drawn again and again to his perpetually moving hands and fingers. At one moment, all the fingers on his left hand are splayed out; then the thumb and index join together to form a circle, all the while moving up and down. An instant later, he gives a cue with his index finger, then opens his palms as if to beseech the orchestra for more sound. Just as quickly, the fingers spring to his lips, quieting the tempest. And all the while, his right hand grips the baton, giving a steady and unwavering beat.

The effect was magical, impressive, unforgettable. Santa Rosa is really lucky to have a conductor of Ferrandis's caliber. His musicians may come from the "Freeway Philharmonic," but he's a master at directing traffic.