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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

Piccolo Solist Debra Scheüerman and the So Co Phil April 7

SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON

by Terry McNeill
Sunday, April 7, 2019

Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport.

Local composer Nolan Gasser’s Sonoma Overture, Op. 20, began the Sunday concert, only the second hearing of the work that premiered at the Santa Rosa Symphony’s gala Weill Hall opening event in 2013. It proved to be a bustling and busy work with big sections brass fanfare and snazzy sound from five percussionists and timpanist Tony Blake. Tempos selected by conductor Norman Gamboa in the interlocking sections were brisk, and piquant music came from chimes, snare drum, marimba, piano (Carol Schindler), harp and soprano saxophone. All this musical commotion overwhelmed the string sections, albeit with a lovely cello solo from Hans Brightbill and beautiful sounds from three flutes.

Copland from the 1930s and more recently John Williams’ music were compositional influences for the composer, and a strident loud climax ended the 14-minute work.

Frisky musical momentum continued with a unique concerto, Israeli composer Yosef Hamami’ s “Freakollo” for piccolo and orchestra. The Orchestra’s principal flutist Debra Scheüerman triumphed in the 15-minute piece, playing from the sheet music though having to wait to enter for an extended orchestra introduction. Much of the solo part is integrated into the Orchestra’s score, though there was a cadenza and a lengthy held note ending the first part, leading to more music with a Middle East/Egyptian flavor and a sunny harp part (Kristina Kopriva) and ample horns.

Ms. Scheüerman moved the solo part along with many agogics and florid runs, mostly descending. There was little variation in the solo instrument’s volume and the artist alternated lyrical phrases with short melodic lines and speedy scales. The Hamami piccolo concerto was probably a North Bay premiere, effective in its smallish size and this perceptive performance.

It comes as no surprise that the impact of the two pieces in the first half were quickly swept away with the arrival of the second half’s mighty Prokofiev 5th Symphony, Op. 100, in B-Flat Major. Mr. Gamboa’s forces got off to a shaky start in the opening andante and throughout the 49 minutes in four movements he was content with judicious tempos, slower than many other conductors prefer. Not ponderous, but in no hurry to get anywhere with this richly orchestrated formidable music from 1944. Balcony acoustics in Jackson have short reverberation and dryness, but admirable clarity, and the andante exhibited flute (Valerie White) and piccolo (Mary Kemnec) duets with oboist Chris Krive and band-like brass playing from trombones and trumpets. An extended fortissimo twice ended a dramatic coda.

Wind instrument virtuosity in the scherzo had some of the best playing of the afternoon (oboes, Nick Xenelis’ magical clarinet, bassoonist Miranda Kincaid) juxtaposed with a theme in the violas (Robby Morales) coming out of the middle of the Orchestra. Mr. Gamboa sits his strings conventionally, cellos and basses stage left, and the exciting and sometimes sinister music was extra effective as he took phrase repeats at slightly different tempos and volume. Changing from a pokey pace to an accelerando gave this movement lift and punch.

Expansive themes characterized the great adagio, as did persuasive individual performers: tubist Floyd Reinhart, Mr. Xenelis and Mr. Krive, Ms. Kopriva and Ms. Kincaid. Mr. Gamboa spotlighted the music’s dissonances and mystery in the dark march section with piquant flute, cymbal, gong, much trombone artistry and finally a faint arpeggiated chord from the clarinet.

The conductor drew an energetic reading in the allegro finale and each new theme seemed to sweep over the preceding ones, almost all joyous except for some solemn interludes. There was a “fate” theme in the cellos and scrappy horn and snare drum playing towards the end, with a trumpet flourish that sped the movement to a tumultuous and propulsive ending.

Many in the audience of 300 rose in raucous appreciation, and used the opportunity in this season’s final concert to chat with the musicians in the large and picturesque Jackson lobby.

Orchestra member (oboist) Anthony Perry doubled as the program’s insouciant announcer, and presented information concerning the coming 2019-2020 season that will differ from past years with more conventional repertoire. There will be two sets in each of four concerts, beginning Sept. 28 and ending April 5. Mr. Gamboa will direct all eight during his eighth season with the Philharmonic.