Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
THE SHOW MUST GO ON
by Steve Osborn
Sunday, January 9, 2022
The Jan. 9 Santa Rosa Symphony concert was supposed to feature the world premiere of Gabriella Smith’s first symphony, but it ended up featuring another type of premiere: a concert that was conceived, rehearsed and performed in less than eight hours. Symphony staff learned on Sunday morning that so
Choral and Vocal
AN OLD FRIEND RETURNS TO WEILL IN STERLING ABS MESSIAH PERFORMANCE
by Pamela Hicks Gailey
Sunday, December 19, 2021
A tremendous accomplishment by the American Bach Soloists Dec. 19 was near perfect performance of Handel's Messiah in Weill Hall. Long an annual tradition at San Francisco's Grace Cathedral, the ABS took to the road and delivered a Christmas gift of epic proportions to an obviously thrilled and enth
Symphony
SHOSTAKOVICH FIFTH THUNDERS AT WEILL HALL CONCERT
by Terry McNeill
Sunday, December 5, 2021
In a new season marketed as “Classical Reunion,” the Santa Rosa Symphony made a palpable connection with its audience at the early December set of three standing ovation concerts in Weill Hall. The December 5 concert, with 1,000 attending, is reviewed here. Vaughan Williams’ popular Fantasia on a T
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
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
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 6, 2016
Bruno Ferrandis, conductor. Orion Weiss, piano

Pianist Orion Weiss

ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT

by Steve Osborn
Sunday, November 6, 2016

Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill.

Weiss is a no-nonsense pianist. He seated himself at the piano, gathered his energies, and then launched full bore into the finger-crunching opening runs of the Bartók. He spent nearly all his time staring at his hands, as if guiding his fingers with his eyes rather than his arms. The speed of light seems like the most plausible explanation for the astonishing rapidity and precision of his attack. He was able to control the resonance of the piano with finger speed as much as pedal. In one soft passage, he achieved a haunting effect by striking the keys with so much speed that the notes died away as soon as they sounded.

The Bartók requires a considerable amount of fire from the soloist, an element that Weiss has in profusion. Although he was occasionally drowned out by the winds in the Allegro first movement, he flamed forth time and again, fully igniting near the end with an incredibly fast cadenza.

The entry of muted strings in the second movement brought an entirely new world of sound, to hypnotic and engaging effect. Weiss arose out of this background by producing tremendous volume from his instrument, accented by a beguiling duet with tympani. The tympani featured prominently in the final movement as well, along with a booming bass drum. Much of the movement is given over to a vigorous call-and-response between piano and orchestra. Weiss not only matched each orchestral outburst but kept raising the ante all the way to the transcendent conclusion.

The opener, Liszt’s symphonic poem “Les Préludes,” stood in pale contrast to Bartók’s masterpiece. Liszt’s orchestration is competent, but his melodies are insipid and his development evanescent. Nonetheless, the orchestra played flawlessly under conductor Bruno Ferrandis, with elegant solos from the French horn and oboe. After an interminable series of runs and arpeggios, the melodic material does coalesce near the end with a striking nine-note descending figure from the brass, impeccably executed by the orchestra’s trumpets and trombones.

Schumann’s second symphony, which occupied the latter part of the program, is a standard of the repertoire, and with good reason. Every movement has striking melodies and motifs, and they flow together with consummate grace. The orchestra played superbly, but special praise must be given to the string section, which negotiated Schumann’s roller-coaster runs with accuracy, unanimity and feeling. Nary a wrong note was to be heard.

In the first movement, Schumann uses a dizzying array of short motifs to build a central theme. Ferrandis brought out the abundant phrases and syncopations, nowhere more so than in an extended passage for strings and clarinet. The violins shone in the second movement, a playful Scherzo that requires nearly perpetual motion, capped off by a bracing sprint to the finish.

The players caught their breath in the subsequent Adagio, a subdued and calming interlude that invites rhythmic flexibility and heartfelt playing, which were everywhere in evidence. Most notable was the beautiful Bach-tinged fugue in the middle.

Ferrandis set a brisk tempo for the Allegro molto finale, resorting sometimes to compact angular motions instead of a more relaxed fluidity. However the beat was conveyed, the musicians kept up the pace while deftly handling repeated sforzandos and orchestral swells. Each idea led seamlessly into the next and propelled toward a triumphant ending — triumphant not only for Schumann, but also for Ferrandis and the Santa Rosa Symphony, which delivered an outstanding performance.

[Reprinted by permission of San Francisco Classical Voice.]