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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
Sonoma County Philharmonic / Saturday, November 14, 2015
Norman Gamboa, conductor

So Co Philharmonic Conductor Norman Gamboa

LA ROCCA'S "CROSSING" A MINIMALIST DEBUT

by Terry McNeill
Saturday, November 14, 2015

Conductor Norman Gamboa is known for innovative programming, especially with Latin-theme music, but in the Nov. 14 concert at Santa Rosa High School’s Performing Arts Hall he chose three familiar works by American composers But true to form a new piece from local composer Frank LaRocca was also in the mix.

Barber’s The School for Scandal: Overture, the composer’s first popular work, received slow tempos but had additional clarity of instrumental voices that Mr. Gamboa coaxed from the Orchestra in under 10 minutes. Scruffy string playing was offset by wonderful wind voices from Nick Xenelis (clarinet), Chris Krive’s oboe and flutist Debra Scheuerman. Barber’s 1933 neo Romanticism was well served in the performance.

Four Dance Episodes from Copland’s music for the ballet Rodeo followed, each unique in texture and excitement. In his 115th birthday role Copland’s pre-1950 works now sound more readily Americana than Gershwin or Bernstein, and the bookends “Buckaroo Holiday” and “Hoe-Down” were played with flair and just the right amount of western “swing.” The conductor controlled the fast rhythmic sections with anchored tempos, and in the “Hoe-Down” the prominent piano part (Brien Wilson) alternated with lovely deep phrases in the cellos.

There was fetching harp playing in the bucolic “Corral Nocturne” and beguiling solos from English hornist Anthony Perry.

Following intermission and the always popular wine raffle Mr. La Rocca’s 1994 orchestral suite Crossing the Rubicon was expertly played, and in a surprising blend of minimalist forms. I don’t recall a large minimalist work being played in Sonoma County, save for long ago performances of Adams’ Short Ride in a Fast Machine and possibly Reich’s Music for 18 Musicians.

First came from a lonely piccolo theme (Emily Reynolds) over short crescendos, repeated unendingly, and more intricate oboe, harp and piano solos. The long and often lyrical melodic lines and pensive character of Crossing were carefully shaped by Mr. Gamboa, spiced by marimba and robust percussion playing. Mr. LaRocca’s Crossing is an effective composition, tightly crafted but unabashedly poetic. Audience members wanting music of minimalist dissonance needed to look elsewhere.

The composer was in the audience and was recognized by the conductor and a now standing Orchestra.

This reviewer was unable to listen to the evening’s final piece, Gershwin’s Symphonic Suite from the 1937 Opera Porgy and Bess.