Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
American Philharmonic Sonoma County / Saturday, February 23, 2013

Norman Gamboa

RUSSIAN ROMANTIC WORKS HIGHLIGHT APSC CONCERT

by Terry McNeill
Saturday, February 23, 2013

Luxurious orchestration has always been a hallmark of Russian symphonic music, as was evident in the works of Liadov, Tchaikovsky and Shostakovich performed by the American Philharmonic Sonoma County (APSC) at the Santa Rosa High School Performing Arts Hall on Feb. 23.

Guest conductor Mark Wardlaw led a novel work to begin the concert, Liadov’s "Eight Russian Folk Songs," Op. 58. This well-balanced suite from 1906 showcased many sections of the orchestra, with bassoonist Steve Peterson and principal cellist Margaret Moores giving extended solos. Mr. Wardlaw carefully matched the string sections in the third folk song, "Plaintive," where the theme was successively handed from the cellos to the first violins and finally to the second violins and basses. The fifth song, "Legend of the Birds," was taken as a sad lament, with the strings playing an eerie shimmer at the end. The performance made these abbreviated and pithy songs sound greater than the sum of their parts.

Closing the first half was Tchaikovsky’s charming "Rococo Variations for Cello and Orchestra," Op. 33, with Ann Suda playing the solo part. Working with a reduced ensemble, Mr. Wardlaw helped craft a rich sonic tapestry for the cellist in this Mozartian work from 1877. The hall, at least from the lower orchestral seats, seems to favor low frequencies, and Ms. Suda’s instrument projected with substantial resonance. Early in the work her tone at the top had a dry edge, but it broadened throughout the rest of the seven variations. The delightful top-to-bottom slides on the fingerboard were impeccable, and in the cadenza Ms. Suda never hurried, letting the long pauses add suspense to the music. She clearly identified with the subtle and non-heroic interplay of cello and orchestra.

During the Tchaikovsky, Debra Scheuerman and Emily Reynolds played a scintillating flute duet, and hornist Randall Masselink performed chaste solo parts. In the fast finale with swirling, almost breakneck, interplay between cello and orchestra, Mr. Wardlaw kept the musicians from running off the rails, and the applause from 600 in the hall was long and loud.

Following intermission, Shostakovich’s effervescent E-Flat Major Ninth Symphony, Op. 70, completed the program. There was a time when a Shostakovich symphony would have been a tough challenge for the APSC because the orchestra lacked instrumental depth in the high strings and winds. That has changed.

Mr. Wardlaw introduced the Shostakovich symphony with a verbal description of the work’s genesis and the situation in the Soviet Union at the end of the "Great Patriotic War." All through the performance, the orchestra executed the familiar Shostakovich sonic landmarks: virtuoso wind playing, brilliant string sonics in the highest range, banal themes resolving into cogent and stirring marches, and always masterful orchestration. In the Moderato, the clarinet and oboe solos by Nicholas Xenelis and Chris Krive, respectively, were opulent. Described by the conductor as a horse race, the Presto movement was exciting and everywhere under control. Tom Hyde’s trumpet solo was beautiful, as was Ms. Reynolds's sparkling piccolo work.

Mr. Wardlaw highlighted Shostakovich's commanding sense of orchestral color and dynamics, and the performance brought the audience to its feet after the roaring finale. It was lighter than usual Shostakovich, but no less impressive. With this third concert in its new home, the APSC has developed a warm familiarity with the solid acoustics of the refurbished auditorium.