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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
Philharmonia Healdsburg / Sunday, February 22, 2015
Les Pfutzenreuter, conductor. Joel Cohen, cello. Abigail Rowland, soprano; Alexander Taite, tenor.

P. Santos and J. Koningsmark (left) watch as Les Pfutzenreuter greets Joel Cohen

HEALDSBURG PHILHARMONIA PLAYS THE RAVEN

by Terry McNeill
Sunday, February 22, 2015

Les Pfutzenreuter is a conductor that gets around, moving from his Ukiah base at Mendocino College and the Ukiah Symphony to festival and concert appearances with many orchestras. February 22 found him with the Healdsburg Philharmonia in that City’s Raven Theater with works of Copland and Tchaikovsky.

Cellist Joel Cohen was the featured soloist in Tchaikovsky’s Rococo Variations, Op. 33, a work he played recently with the same conductor and the Ukiah Symphony. Here the Orchestra was reduced in size, not a bad thing considering the intimate nature of the Russian’s composer’s work from 1877, but I found myself missing the heft of more strings in the original score. Mr. Cohen gave a compelling if not especially virtuosic reading of the 20-minute work, and was the only person on stage eschewing standard black concert attire.

The soloist was especially persuasive in the instrument’s lower register, but the low fingerboard positions bought intonation problems as they sporadically did with the violins. Mr. Cohen chose a relatively subdued approach to projection and vibrato, certainly a valid stance in a work that is classical and elegant rather than heaven storming. His control of pianissimo was sure and the two beguiling descending slides were decorous. Though several of the variations needed more velocity Mr. Cohen was never in a hurry, phrasing with care and blending well with Mr. Pfutzenreuter’s direction.

Surprisingly he played an encore, a set of spiffy variations by Novato composer Mark Summer on the melody “Lo How A Rose E'er Blooming,” with sections that sounded like a Bach Gigue and then some sans-bow strumming and hand slapping on the cello body. The audience of 175 loved it and extended the applause for the soloist and musicians.

In the first half Copland’s Appalachian Spring Suite and an arrangement for small orchestra of the Tender Land Suite were heard. Both were for 13 Instruments and the latter featured soprano Abigail Rowland and tenor Alexander Taite. There was polished playing from concertmaster Phillip Santos, flutist Michalle Caimotto, bassoonists Beverly McChesney and Ann Hubbard, and (performing a kind of continuo and pedal point) pianist Elizabeth MacDougall. Unlike in many orchestral compositions the piano in Copland (and Shostakovich) can actually be heard through the orchestra fabric.

The familiar themes from the famous Martha Graham 1944 ballet were deftly shaped by Mr. Pfutzenreuter and the commonly played version for full orchestra that is more dense and expansive wasn’t missed.

In the 31-minute Tender Land work the two singers were amplified, a strange choice for the conductor as it upset the balance between voice and instruments. It’s rare that two non-Wagnerian singers can cover even a small orchestra, but amplification can do it! The symphonic textures here were parallel to the Appalachian Spring Suite. Ms. Rowland’s voice seemed more suited to Copland’s style than Mr. Taite, as in the duet after the playful party section the tenor tended to have a raw top at phrase endings. Copland’s vocal line often borders on Sprechstimme (speech singing) and excludes much warm lyricism.

Throughout the afternoon the ensemble and graceful playing from the winds gave color and impetus to the three works, a validation of the conductor’s programing and authority.

Impresario Robert Hayden contributed to this review.