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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

E. Casanova, C. Steinbuck and E. MacDougall Jan. 27

TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE

by Terry McNeill
Sunday, January 27, 2019

Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint readers with developments for Mendocino County’s premiere ensemble.

Developments have been good. Now in his 29th season, conductor Les Pfützenreuter led a unique pairing of two three-piano concertos, with Tchaikovsky’s Serenade for Strings occupying the concert’s first half. USO string sound is always iffy as small numbers of musicians (today 8 violins, 3 violas, 4 cellos and 2 basses) produce less than sonorous volume. Additionally intonation problems appear in fast ascending passages in the upper strings, and cutoffs were more crisp than attacks.

That said, Mr. Pfützenreuter had deft control of dynamics with subtle piano and pianissimo differences in the second movement waltz, coupled with steady rhythms and interpretatively little rubato. Viola playing had particular beauty with other string playing winding around them, and thematic restatements in the famous richly colored élégie were elegantly shaped by the conductor. If the initial and second themes in the élégie don’t tug at your heart strings, Tchaikovsky’s music probably isn’t for you.

Tempo in the finale was judicious and overall string sound lack depth, but Mr. Pfützenreuter’s ability to draw sounds swelling from pianissimo to mezzo forte was estimable. The Theater’s acoustics, warm but with negligible reverberation, underscored this captivating and passionate music.

Following intermission Bach’s D Minor Concerto (BWV 1063) for three keyboards was heard, followed by Mozart’s F Major “Triple” Piano Concerto, K. 242, were heard. The common instrument placement of parallel piano “noses” facing directly into the orchestra was dropped in favor of the flügel a flügel arrangement, with pianists Carolyn Steinbuck and Elena Casanova facing pianist Elizabeth MacDougall across instruments with their lids removed.

Each of the soloists has a long Mendocino County performance history and concerts with Mr. Pfützenreuter, so it was no surprise that the Bach from 1733 unfolded with graceful musical counterpoint. Pacing is critical in this work and the conductor kept a steady tempo that allowed the themes, from the primo (Ms. Steinbuck) and secondo (Ms. Casanova) parts, to emerge from what in lesser hands could have been cloudy sound. Playing in the siciliana was lovely and the fugal parts of the concluding allegro had a joyous character.

As good as the Bach work is, and it is very good, the Mozart has more heft and structural interest. The pianists did not rotate instrument positions, and after so much string music it was good to have additional instruments in the mix, especially the horns (though they were way to loud the entire piece). Ensemble was mostly good with a few spots that were rushed and out of sync, something the conductor has no way of fixing during a performance. Ms. Steinbuck played the short cadenza in the opening allegro. Oddly for a work with three solo pianos the most effective thematic statements belonged in the orchestra, and Mr. Pfützenreuter’s control was intensive, though accomplished with less forceful body movements than one sees with most other conductors. In the adagio some of the afternoon’s best playing was heard, the captivating dolce theme came from Ms. Steinbuck, with just the right tinge of sadness. The sonic pianistic interplay in this movement and the technically assured concluding rondo was a highlight, three “singers” at the service of beguiling music.

A standing ovation greeted the conclusion of the concerto, and the conductor spoke of his devotion to Mozart, and that the composer’s 263rd birthday was falling on the day of this concert.

Orchestra officials subsequently informed the packed hall that the May 18 and 19 concerts would be the final ones for the conductor, and a search had begun for a new music director. Mr. Pfützenreuter retired last year as Professor of Music at the College, and announced that he now has time to reacquaint himself with French horn technique.