Conductor Les Pfutzenreuter at Mendocino College

UKIAH SYMPHONY CLOSES SEASON WITH TWO BIG WORKS

The Ukiah Symphony closed its 2012-13 season May 19th with a bold matinee presentation at the Mendocino College Theater. Featured were the Tchaikovsky's Piano Concerto No. 1 in B Flat minor, Opus 23, and the third and fourth Movements of Beethoven's 9th Symphony, Opus 125.

Pianist Lawrence Holmfjord-Sarabi was the soloist in the Tchaikovsky and his performance was powerful and moving. There was a visible split-second of doubt in the right hand during the Andantino Semplice, but this would have been evident only to an attentive observer and listener, and it was acoustically insignificant and did not detract from the quality of the performance. Mr. Holmefjord-Sarabi demonstrated a clear and precise touch, and managed to retain these qualities during more delicate and expressive passages without slipping into a mechanical mode of playing. This performance of this most popular of concertos, written in 1875, received a standing ovation.

The Symphony supported the soloist well but in several places, particularly in the French horn attacks during the finale and deteriorating tuning of the woodwinds, the music suffered. The strings were strong and crisp on attacks and the percussion section was precise. The horns and woodwinds were expressive throughout and conductor Les Pfutzenreuter kept careful control of dynamics.

Following intermission the Mendocino College Masterworks Chorale joined the Symphony for the final two movements of Beethoven's last big orchestral work. The beginning of the third Movement did not offer an auspicious start to this powerful work. The Adagio Molto e Cantabile is written to offer strong lyrical expression to violins and cellos, but here the playing was actually too lyrical, tending towards sloppiness. Fortunately this part gave way to a magnificent rendition of the formidible final movement .

Solo vocalists in the "Ode to Joy" included Marilyn Simpson, alto; Kathy Allen, soprano; tenor Rick Allen; and Richard Goodman, bass. Mr. Goodman began with an impressive performance of the initial bass solo - moving, heartfelt and precise. The entire quartet performed well, though in this afternoon Mr. Allen's voice seemed underpowered for the demands of the score. The soprano singing was excellent but Ms. Allen could have used less volume in the four-part harmonies where she tended to dominate rather than blend. Ms. Simpson's was a flawless alto.

Also shining brightly was the Ukiah Masterworks chorale. They sang with passion and accuracy, the music swelling in intensity, and Mr. Pfutzenreuter had an inspired view of the score and how to balance the many sonic threads of the large ensemble. A standing ovation from the large audience ensued.