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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 Co Philharmonic and Singers March 17 Following Carmina Burana (JCM Photo)

ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT

by Terry McNeill
Saturday, March 17, 2018

Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply.

An opposite scene occurred at the March 17/18 concert set where the stage was crammed with the full orchestra and two choirs, the Santa Rosa Symphonic Chorus and the California Redwood Chorale (Robert Hazelrigg, director). It looked like nearly 60 singers filled the risers. The auditorium was packed with regular So Co Phil concert attendees and groups of family members, and Carl Orff’s theatrical Carmina Burana cantata from 1937 was surely the draw for the increased numbers.

It’s a complex work that has the most sections and sub sections in a performance that lasted just over an hour. With all these forces in the mix, including three vocal soloists and the Santa Rosa Children’s Choral Academy (all seated in the first row, and directed by Carol Menke from the sixth row) conductor Norman Gamboa had his hands full. In a work of these proportions a conductor usually has “the score in his head, or his head in the score,” and Mr. Gamboa deftly paid little attention to the sheet music in front of him. He clearly has given the knotty music long and dedicated scrutiny.

Sung mostly in Latin with some middle high German, old French and some Provençal, the 25 main sections unfolded with sonic power and a bevy of fine instrumental playing: long held notes from the three trombones and three trumpets: clarinet and flute solos (Nick Xenelis and Debra Scheuerman/Emily Reynolds); and an exceptional variety of percussion effects, some opposite at stage left/stage right. Dramatic sounds came from the small xylophone, three electric pianos, chimes, bells, castanets, gourds and cymbals. Certainly more were in the percussion blend that I missed.

The composer splashed many musical references about, from oddly the Flower Duet from Delibes’ “Lakmé” to late Renaissance composers (Josquin, Monteverdi), and with some neo-Baroque rhythms from composers in the 1920s. It’s a powerful stew, the sections frequently exploding without a break.

Three soloists seemed an adjunct to Carmina’s instrumental frenzy, with baritone Igor Vierira and soprano Ivalah Allen having the most extended singing, and tenor Mark Kratz was limited to one aria sung in raw falsetto. None of the arias were congenial for the respective voices, especially for Miss Allen at the top of her range in melisma over flutes and piccolo. However, she could spin a beguiling song, as in the lovely dulcissime (Sweetest boy) section, and Mr. Vieira had snazzy hand and face movements in the “All things are tempered by the sun” movement.

An extravaganza of vivid sound, Carmina ended with fortissimo punch and Erik Ohlson’s blows on the Philharmonic’s biggest bass drum. Instant audience cheers followed, and Mr. Gamboa seemed elated at his ensemble’s accomplishment, and motioned for several instrumental soloists to stand.

Hindemith is not a composer heard much in the North Bay, but the Symphonic Metamorphosis (on themes from Weber) is arguably his most popular composition for orchestra. The four-movement work from 1943 was played wonderfully, and in no way was it a modest lead in to the demands of Carmina.

The music at turns is sassy and is full of surprising accents, particularly in the fugue. Uncovering familiar Weber themes was out of reach, given the masterly orchestra details, many slight accelerandos in the scherzo, frequent dissonant chords that jarred the ear, and as usual persuasive wind solos from Ms. Scheuerman, Mr. Xenelis and bassoonist Steven Peterson. The final marsch with timpani and chimes closed a brilliant interpretation.

With such large forces at this concert praise was needed to anoint many, but the evening’s true hero was Mr. Gamboa. Thinking of just the manifold number of attacks and cutoffs that he managed so conclusively, it was an artful demonstration of control of intricate orchestral architecture and sonic texture.

This set was the final one for the Philharmonic’s 2017-2018 season, but one more “gift” to their loyal public comes in the same Hall June 15. The Orchestra, again under Mr. Gamboa’s direction, will showcase the works they are performing on the musical tour of Costa Rica, set to be June 17-25. It will be their second international tour, as Gabriel Sakakeeny (now Conductor Emeritus) led an arduous but wildly successful China tour in 2010.