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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
San Francisco Symphony / Thursday, November 21, 2013
Semyon Bychkov, conductor. Till Fellner, piano

Conductor Semyon Bychkov

A DARK AND STORMY NIGHT

by Steve Osborn
Thursday, November 21, 2013

One way to get a free glass of wine is to buy a ticket to a San Francisco Symphony concert at the Green Music Center, wait for a dark and stormy night, then stroll into Weill Hall and behold a nearly empty stage, with only a solitary cellist tuning his instrument.

That's what happened on Thursday evening, Nov. 21, when the Symphony's buses were delayed on Highway 101 by a fallen tree and a massive traffic jam. Promptly at 8, a Symphony representative walked on stage and announced that the concert would be postponed until 8:30, at which point GMC Executive Director Larry Furukawa-Schlereth announced that everyone would get a free glass of wine. A mass exodus ensued.

The stormy night provided a fitting context for the eventual program, which did begin as promised. The first half offered the brooding Mozart Piano Concerto No. 24, one of his few concertos in a minor key (C minor), and perhaps his most introspective. Mozart's anguish then gave way in the second half to Richard Strauss's ebullient "An Alpine Symphony," a veritable avalanche of sound, complete with wind and thunder machines.

Austrian pianist Till Fellner played the role of Mozart, who premiered his C minor concerto in April 1786 to a presumably befuddled Viennese audience. Unlike almost all his other concertos, the C minor is neither happy, nor flashy, nor crowd-pleasing. It's also not so much a piano concerto as a sinfonia concertante for woodwinds, who are featured throughout the work.

Fellner is an exceedingly correct pianist. He sits ramrod-straight on the piano bench, with nary a wasted motion. When playing, his elbows are just slightly bent, but somehow his fingers act as spring-loaded triggers, striking the keys with the utmost precision and fortitude.

Gently urged forward by guest conductor Semyon Bychkov, a reduced band of Symphony players intoned the concerto's doleful introduction, which sounds like the beginning of a march to the scaffold. The tempo was luxuriant, the motion fluid, the texture polished. Upon entry, Fellner was a model of restraint, playing his line with the utmost precision and extolling the virtues of quietude. His only release came during the operatic cadenza, which he played to perfection.

The restraint continued into the second movement, where Fellner offered an almost staccato approach to the deceptively simple melody (one note, then two, then three ascending, then five descending) that recurs throughout the Rondo form. His touch was feather-light, his timing impeccable.

The tempo was again luxurious in the finale, a set of variations with occasional glimpses of a major key within an ultimately triumphant minor mode. Fellner's left hand was particularly strong in bringing out the grim rhythms and moods that dominate the work. At the end, the applause from the nearly full house was subdued, without the customary ovation--but then it's hard to imagine anyone jumping up and cheering after such a somber work.

The ovation came at the end of the program, after an impassioned reading of Richard Strauss's "Alpine Symphony," the last in his long series of tone poems. The term "symphony" is actually a misnomer in this case because the work is just one long movement with 22 separate episodes, with little of the thematic development that one encounters in a typical symphony. Instead, it's all about painting pictures with sound.

Strauss works on a massive canvas with an inordinate number of brushes and colors. His score calls for about 130 players on a stupefying array of instruments, including not only the aforementioned wind and thunder machines, but also a heckelphone (bass oboe), four Wagner horns, innumerable percussion instruments, an organ, two harps and an offstage brass ensemble.

Keeping this menagerie under control is more than a challenge, but Bychkov seemed utterly unperturbed. He kept his feet firmly planted on the podium, compelling the orchestra to do his bidding through graceful movements of his baton and occasional shakes of his curly hair. The low, slow beginning ("Night") seemed almost frozen, with the violins barely moving their bows. In time, this gave way to a massive crescendo ("Sunrise") that threatened to break the windows.

And so it went throughout the misnamed symphony. Each of the 22 episodes came into being, offered its specific sonic image ("At the Waterfall," "On Flowering Meadows," "On the Glacier"), then either faded out or butted heads with the next. Within the episodes, the sound was often shimmering, iridescent and luminous, the spectacular result of Strauss's finely crafted orchestration.

Inevitably, the climax came toward the end, with a thoroughly convincing "Thunderstorm and Tempest." Everyone on stage played at top volume, and the percussionist manning the wind machine nearly tore his arm out of its socket while winding the contraption around and around. This prodigious display of force gradually morphed into a truly magical section beginning with the organ invoking the blessed silence of a church, followed by magisterial and gradually waning tones from the rest of the mighty ensemble. At the end, Bychkov held his hands aloft for a long moment before summoning the thunderous applause.