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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

Hans Brightbill Jan. 27 After Playing Elgar Concerto (J. Chilman Photo)

MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS

by Terry McNeill
Saturday, January 27, 2018

Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center.

Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaganza of orchestral color and virtuosic playing. Led with careful pacing by conductor Norman Gamboa, the work seemed shorter than its 36-minute duration, always a sign of a compelling conductoral vision and instrumental clarity in the 1916 work’s many sections. Initially the big brass choir (3 trombones, 3 trumpets, tuba and five fiery horns) set the sonic standard, taken up in the poco allegretto and poco adagio by the So Co Phil’s famously first-cabin wind section.

There is much Sibelius (and even Glazunov) in the Nielsen Fourth, and a lot is going on at once – a surprise solo cello line, “bird call” reprises from Emily Reynolds (piccolo) and flutist Debra Scheuerman, laconic wind phrases over pizzicato strings, and energetic continual tympani mastery by Anthony Blake. Mr. Gamboa kept control over a complex sonic mix right to the final accelerando climax with thunder from tympani stationed stage left and right.

Mention needs to be made of greater unanimity in the violins than in recent concerts, and at the beginning of the adagio the violins stated a theme of great breadth and authority, later supported by cellos and violas. Perhaps this intensity was augmented by the seating Mr. Gamboa has favored in recent years, with second violins at stage left in front of the bass viols. Shostakovich wrote climaxes as good as in this Nielsen performance, but more than 20 years later. The long diminuendos chosen by Mr. Gamboa deftly smoothed transitions, and there was ample instrumental “screaming” from piccolo, strings and clarinets. But what captivating “screaming” this music has.

Hans Brightbill was the soloist in the first half’s closing work, Elgar’s E Minor Cello Concerto, Op. 85. My guess is that the performance was the first large Elgar piece heard locally since Hillary Hahn played the Violin Concerto with the Santa Rosa Symphony (Jeffrey Kahane) in the old Well Fargo Center. Though of the same 36-minute duration, the Cello Concerto is more diffuse and wandering than the Violin Concerto, and Mr. Brightbill made a strong case for its inherent originality and occasional vehemence. The tempos were judicious and Mr. Brightbill exhibited a warm incisive sound, particularly in the low registers with a wide vibrato. His bow attacks were punctual and the playing was only lacking in accurate intonation and projection at the very top treble.

Warm applause from the audience and members of the orchestra were heard at the end of the final allegro and multiple presentation bouquets were passed to the soloist.

A beguiling curiosity opened the concert, Théodore Dubois five-movement Second Wind Suite, played by two clarinets, two bassoons, two flutes, horn and oboe, and without the optional string bass. This was light French whipped cream charm from about 1900, similar to Ibert, Chaminade and early St. Saëns. The ensemble played the bouncy phrases with often dance-hall swing, especially in the concluding menuet. It was refreshing music, beginning exactly at 7:30, but arguably passed without much notice compared with the monumental Elgar and Nielsen.

The Suite’s performers were not listed in the program, but included Ms. Scheuerman, Valerie White, Nick Xenelis, Cathy Brooks, Chris Krive, Miranda Kincaid, Steven Peterson and Eric Anderson.

Orff’s popular “Carmina Burana” will be the featured work in the Philharmonic’s next set, March 17 and 18. They will be joined by the Santa Symphonic Chorus and Santa Rosa Children’s Choral Academy, and singers Ivalah Allen, Mark Kratz and Igor Vieira.