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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 18, 2017
Norman Gamboa, conductor. Pam Otsuka, violin; Robby Morales, viola

Violist Robby Morales

SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT

by Terry McNeill
Saturday, November 18, 2017

Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High School. The first of the set is reviewed here.

The Belgian composer’s only Symphony is difficult structurally to perform, though underpinned by the recurring them in each of the three movements. To some it’s a theme bordering on banality, and to others it’s a theme of nobility crafted and ingeniously developed by the seasoned master in 1889, shortly before his death. Conductor Norman Gamboa drew from his Orchestra a performance of considerable power and excitement. The many short climaxes of the opening allegro gave cumulative cohesion to the sound, with faint references to the beguiling contemporary harmonies of Wager’s operas and Liszt’s tone poems.

Christina Kopriva’s harp solo opened the andante were Chris Krive’s elegant oboe solo over murmuring string pizzicato was a highlight. Tempos were judicious throughout, and the sonic momentum of the first movement’s allegro returned in the finale. The brass sounded heroically and Anthony Perry’s plaintive English horn solos were handsome. Mr. Gamboa built an apex of Franck’s inspired drama, anticipating the cutoff at the ending that has always seemed to me too short and inconclusive. Audience response was warm and loud.

Mozart’s E-Flat Major Symphonia Concertante (K. 364) was the capstone of the first half and featured as soloists two of the So Co Phil’s principals, violinist Pam Otsuka and violist Robby Morales. Jeffrey Kahane conducted a memorable performance of the work in Weill two summers ago, and Mr. Gamboa’s interpretation shared many of the same felicities – attention to small details, chaste phrasing and soloist support. The music from 1779 is of course sharply different from the two other works on the program, with a reduced size ensemble and needing transparency of sound rather than robust volume and thick textures.

The long introduction (the soloists played through the tutti) to the allegro maestoso led to the opening solo entrances, both well played and indicating, especially in the cadenzas where seemingly ample rehearsal time was spent. The goal here is to capture the music’s delicacy, but always wrapped in impeccable instrumental technique and balance. It’s odd that pitch and phrase coordination in these luscious cadenzaduos mostly avoided the intonation deficiencies and blurring in short trills and turns that were often present when playing in the first movement’s ensemble. Mr. Morales overcame these pesky problems in the lovely sadness and lament of the andante where his bottom register tone was burnished and secure.

Tricky horn phrases opened the presto finale and the orchestra exhibited some of the most cohesive playing of the evening, deftly controlled by the conductor. The slower-than-usual tempo allowed Ms. Otsuka’s violin line to soar and carry to the back row of the acoustically lively hall. Her violin tone was lambent, alternatively melding and contrasting with Mr. Morales. Greeting the soloists after the final convincing chord were a standing ovation and several presentation bouquets.

Opening the evening was a rollicking eight-minute playing of Shostakovich’s Festive Overture. It was a snazzy way to begin and always an audience favorite, as evidenced by recent local performances by the Santa Rosa Symphony, Russian National Orchestra, Mariinsky Orchestra and the Mendocino Music Festival Orchestra. Outstanding in this exciting romp were Mary Kemnec’s piccolo playing, and the persuasive solos of flutists Debra Scheuerman and Emily Reynolds. Mr. Gamboa conducted without score.