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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
American Philharmonic, Sonoma County / Sunday, October 12, 2008
Gabriel Sakakeeny

Gabriel Sakakeeny

A DECADE AND COUNTING

by Terry McNeill
Wednesday, October 15, 2008

An old business axiom has it that “ten years means a career,” and with the American Philharmonic Sonoma County making that anniversary, the tenth’s season first concerts October 11 and 12 brought more than the usual anticipation. This orchestra, which began in Cotati, has overcome manifold hurdles to become a formidable musical force in the North Bay.

A season-launching concert should open with something special, and Stephen Main’s “Overture for a New America” had a decidedly populist, perhaps even political tone. One of three world premieres to be played by the American Philharmonic this season, the Overture recalls a bucolic Vaughan-Williams, Respighi’s “Pines of Rome” and film scores such as Howard Shore’s “Lord of the Rings.” In three sections, the lush score portrays heroic aspects of the American national character with splendid writing for the brass and several full-orchestra climaxes. A fugue caps the third section, albeit breaking off too quickly, with the returning martial character winning out. It’s a substantial work with rich tonal colors, and it was elegantly played by the orchestra. The audience, filling perhaps half of the Wells Fargo Center’s 1,500 seats, loved it, and Main was introduced by conductor Gabriel Sakakeeny to additional acclaim.

Grieg’s A Minor Piano Concerto completed the first half, capably played by Rohnert Park resident Lauren Xie in her second appearance with the American Philharmonic. An early Grieg work, from 1868, the dramatic and melodic concerto preceded the other popular piano concertos of the time (Rubinstein D Minor, Tchaikovsky B-Flat, Brahms’s D Minor and B-Flat, Henselt’s F Minor) and has never lost hold of a wide public. Its soaring themes and perfect integration of the solo instrument and orchestra are models of the genre. In the first movement Xie chose to underplay the massive choral parts, playing cleanly and never rushing tempos. Her performance was certainly lyrical but lacked heft and excitement. The big trill entering the coda was bright, and finally she mounted a real forte in the coda.

Her best playing came in the Adagio in D Flat, despite orchestra pitch problems in the introduction. Here Xie’s thoughtful and tender interpretation was winning, her touch deft and shading subtle. Xie tends to ignore some interesting bass lines heard in performances of other pianists, but the nostalgic music, and the lovely accompaniment from the orchestra, made the movement memorable. A highlight of the afternoon.

The finale, beginning in A Minor and ending in A Major, was held in strict control by Sakakeeny’s precise baton, and the playing of the timpanist (unidentified in the program) was excellent. Xie was again best in lyrical parts, where the treble sustain in the piano carried well, and less convincing in fast pedaled runs where her scales lacked clarity. A standing ovation and four sets of flowers for the soloist followed the volcanic ending. Prior to the second half, Sakakeeny presented Xie with the Orchestra’s Young Artist Award, an annual gift and tribute to young musicians in the North Bay area.

A youthful and still amazing First Symphony in F Minor (1925) from Shostakovich closed the concert. In four movements, it must rank with Mahler’s as one of the best “first” symphonies ever written, and it has all the characteristics of the mature composer’s additional 14 works in the genre: brilliant orchestration, acerbic wit, blatant but proper theme-borrowing, and immense emotional impact. It has everywhere the distinctive Shostakovich voice, mixed in with climaxes recalling countrymen Scriabin and Tchaikovsky.

Tom Hyde’s solo trumpet playing throughout was exemplary. The grotesquerie of the Scherzo and the introversion of the slow movement (Lento) were fluently performed, with Steve Bergman (clarinet) Chris Crive (oboe) and Miranda Kincaid (bassoon) as standout soloists. But this is a symphony of solo parts, at times with even a bit of Wagner in the long fourth-movement introduction, and in that pesky Scherzo, which I suspect this orchestra could not have effectively tackled five years ago. Sakakeeny seems to keep setting the bar higher, with more demanding works that require large forces and presumably much rehearsal time, and the preparation was palpable in a masterful interpretation. The prevailing feeling of sadness was finally relieved by the massive ending statement from the horns.

Perhaps this performance indicates that a Shostakovich symphony could be on at least one American Philharmonic program each year? The Fourth may be still be out of reach, but this wonderful orchestra, playing last year the Rite of Spring and the Poem of Ecstasy, could probably do it.