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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
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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
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PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM
by Pamela Hicks Gailey
Thursday, July 29, 2021
The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to
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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
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BOGAS' TENURE ENDS IN OUTDOOR GUALALA CHAMBER CONCERT
by Iris Lorenzfife
Sunday, July 25, 2021
The preconcert call that music lovers should gather at Gualala Arts July 25 to attend the final Roy Bogas and Friends Concert was not quite as dire as it sounded. It seems that a year of Covid 19 and an 88th birthday had combined to convince Mr. Bogas that he was working too hard. But with cellist P
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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 “
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RARE LANG SONGS SPARKLE AT VOM FESTIVAL VIDEO RECITAL
by Pamela Hicks Gailey
Wednesday, July 21, 2021
Unexpected pleasures are often the best. Valley of the Moon Chamber Festival presented a such a pleasure last week-a July 21 recorded performance by tenor Kyle Stegall and pianist Eric Zivian in another mini-recital (very mini-just 15 minutes!) of six songs by the nineteenth century German composer
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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
SYMPHONY REVIEW

Conductor Francesco Lecce-Chong

ORCHESTRAL VIRTUOSITY IN SR SYMPHONY'S 92ND SEASON OPENER

by Terry McNeill
Monday, October 7, 2019

Season-beginning orchestra concerts usually feature a splashy mix of overture/fanfare, a sonorous symphony and a virtuosic concerto. Santa Rosa Symphony’s Oct. 6 opener in Weill Hall had a contrary design with two new works and a Richard Strauss symphonic showpiece tone poem. Sunday’s afternoon’s concert in the set of three is reviewed here.

Somehow a Beethoven Concerto slipped into the mix, with San Francisco based virtuoso pianist Garrick Ohlsson the soloist with resident conductor Francesco Lecce-Chong on the podium. Mr. Ohlsson’s chaste opening phrase in the G Major (Op. 58) Concerto led to an ethereal orchestral start and judicious tempos throughout the allegro moderato. Everything was in balance and themes were limpid and clear to my balcony seat. Several years ago in recital Mr. Olhsson played with the largest piano sonority I have yet heard in Weill, with Liszt’s great “Weinen, Klagen” Variations. Horowitz and Hofmann sonority. But this afternoon he aimed at a refined and balanced interpretation, occasionally surprisingly breaking a chord but eschewing inner voices or harmonic pointing.

In the midst of genteel orchestral support the pianist displayed in the first movement many examples of his stellar art with expressive trills and deft control of pianissimo, but also much that was conventional. Outside of routine, Mr. Ohlsson’s pedal technique missed the opportunity for resonance (full pedal) and taking advantage of the potent orchestral tutti before restating the opening theme fortissimo in the middle of the movement, but he did hold the pedal through the final three chords, a nod perhaps to virtuoso tradition.

Playing in the andante was elegant throughout with deft pauses in the unfolding soft drama, leading inexorably to a lively rondo with Mr. Lecce-Chong in steady control. Again Mr. Ohlsson took a restrained interpretative approach, but it’s that kind of piece with ample subdued drama. He played the Beethoven cadenzas in the first and third movements, the latter with marching left-hand phrases and much half pedal. Though dozens of innovative cadenza alternatives exist, the composer’s own seem alas to be the rule these days.

There was a standing ovation, followed by a lengthy intermission, and the second half began with composer-in-residence Matt Browne’s How The Solar System Was Won. Lasting just eight minutes the work is steeped in contrasts, opening with an eerie shimmering voice in the strings and moving to expertly played instrumental solos from the flute, piccolo, brass brilliance (three each trumpets and trombones), Andrew Lewis’ tympani and distinct wood block and xylophone sound from three percussionists. There is some cacophony in this music, leavened by lyrical playing from the first violin section.

The composer made charming explanatory remarks from the stage prior to the tour de force performance, and appeared at the end to loud applause.

Over 60 musicians were on stage for the concert’s finale, Strauss’ 1896 Also Sprach Zarathustra tone poem. The famous brass and organ opening was suitably powerful, and the conductor perfectly shaped the sound and the eight subsequent parts that are at times meandering but also replete with splendid individual playing. Some of the highlights were John Freeman’s trumpet work, chirpy flute and piccolo playing and rich sound from Andy Butler’s five contrabass musicians.

The performance was packed with imposing juxtapositions – long sections of lugubrious sensuality and then explosive outpourings of sound, even in the short fugue that had accelerated speed. Clarity of texture came with Mr. Lecce-Chong’s attention to section detail, to the point that even the two harp, tuba and organ parts were lucid.

This work demands impeccable playing from the first violins, and it was so in this performance, reminiscent of the Strauss Ein Heldenleben on the Weill stage three years ago from the Mariinsky Orchestra and conductor Valery Gergiev. The concertmaster then played like an angel in the many solos, and his counterpart here, Joseph Edelberg and his exemplary violin colleagues, did likewise, often in fetching lyricism over the flutes and clarinets.

The audience of nearly 1,300 clapped vigorously, and the Mr. Lecce-Chong motioned for many of his musicians to stand to acknowledge the applause.

The concert began with Anna Clyne’s Masquerade, a short piece with obligatory noisy percussion effects and hoary banal melodies, and passed with little notice.








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