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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 / Sunday, January 24, 2016
Norman Gamboa, conductor. Bruce Chrisp, trombone

Trombonist Bruce Chrisp

SOLO AND ENSEMBLE BRASS PEAL POWERFULLY IN SO CO PHIL CONCERT

by Terry McNeill
Sunday, January 24, 2016

Known for its novel programming, the Sonoma County Philharmonic has frequently engaged local soloists, with flutist Kathleen Reynolds and pianists Lauren Xie and Marilyn Thompson coming quickly to mind. In their Jan. 23 concert, featuring German composers, conductor Norman Gamboa united a rare mid 19th mini concerto for trombone with another Sonoma County soloist, Bruce Chrisp.

Playing the Ferdinand David Op. 4 Concertino, Mr. Chrisp gave the 1841 piece a convincing performance without score before 250 in the Santa Rosa High School’s Performing Arts Center. His control of the seemingly unwieldy instrument was surefooted, even when the notes jumped from the low register to repeated and drawn-out high pitches. Thematic statements were boldly projected and the pesky trills confidently attacked.

There was no break between the Allegro and the melodramatic Andante and Mr. Chrisp was impressive in swelling volume in the low register and the beautiful long-held note at the end of the movement.
Most of the audience held their breath until the note stopped.

Music in the concluding Allegro was a little operatic in places, tuneful with a predictable cadenza and a heroically played ending from the soloist. Respond to loud bravos, Mr. Chrisp accepted a bouquet and impishly stick it into the horn of his ineffable instrument.

Brahms’ E Minor Symphony (Op. 98) closed the concert, a conservative format work composed at the time of Wagner’s symphonic radicalism and Mahler’s first Symphony. It may be “old fashioned” in style but its beauty and craftsmanship are beyond reproach. Horns are critical in the opening Allegro and Mr. Gamboa gave the SoCoPhil’s horn quartet, led by Eric Anderson and Bruce Blaikie, full rein. The lovely opening themes were played invitingly and in a dialogue between the first and second violins. Woodwinds (clarinetists Nick Xenelis and Cathy Brooks) and pizzicato strings played a vigorous variant of the first theme under Mr. Gamboa’s restrained direction.

This trenchantly grim movement came to a close with timpanist Walt Bodley’s powerful strokes, and the slow movement began with idyllic music from the horns, and later from flutists Emily Reynolds and Debra Scheuerman. The cutoffs were good and the conductor’s control developed the majesty of the writing.

In the third movement Ms. Reynolds’ piccolo and Mary Gillespie-Greenberg’s ringing triangle made the ever-changing harmonies in a rambunctious Scherzo sound almost giddy.

Brahms wrote a powerful Passacaglia to close his Fourth Symphony, using a form of variations (32 in all) on a repeated bass or reiterated harmonic progression. Woodwinds and brass (now joined for the first time by trombones) are prominent, with rolling drums, and Mr. Gamboa had his hands full keeping continuity and clarity in the tempo changes. There is passion and release in this movement, all driving to a conclusion that blanketed some of the string sounds. The ovation was long enough for the conductor to recognize individual musicians and one section.

Weber’s Overture to the 1824 Opera “Oberon” opened the program, a merry and suave ten-minute work that lacked string power but featured potent brass playing.