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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
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
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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 Marc Taddei

DVORAK SYMPHONY CYCLE CONTINUES IN VSO SEASON OPENING CONCERT

by Terry McNeill
Sunday, November 3, 2019

There was a surprise at the Nov. 3 Vallejo Symphony’s 88th season opening Concert. Of the three works programed by conductor Marc Taddei, the Bartok E major Piano Concerto was the least craggy and sonically demanding. Bartok upstaged in musical impact? How so?

Before a nearly sold out Empress Theater audience Mr. Taddei omitted the usual season-opening Star Spangled Banner and after brief remarks regarding the year’s themes (“Great and Noble” and completing a cycle of Dvorák Symphonies) directed an energetic performance of Barber’s First Symphony, Op. 9. Lasting just 21 minutes, the 1936 work had splendid cello-clarinet duos, potent tympani playing from John Weeks, and the golden sound from the middle of the Orchestra from oboist Curtis Kidwell.

Mr. Taddei’s conducting style is all business with distinct cues, certainly needed in the music that swirled from neo-romantic lyricism to sonorous flowing climaxes that at times encompassed a hint of remorse. The conductor’s section control in the Passacaglia (near the end) was sure and generated a big sound in the Empress’ non-reverberant space. This Symphony is often compared with the Sibelius Seventh, but to me they are far apart, and the Sibelius (played last season by the VSO) ends quietly in a mysterious ascending phrase. Here the conductor shaped a big sound, and in the applause he singled out Mr. Kidwell.

The hall’s piano (not a Steinway) was set center stage with soloist Bobby Mitchell tackling the third Bartok Concerto, an autumnal for Bartok work that sharply diverges from the two dissonant and difficult predecessors. Using a score but only sporadically looking at it, Mr. Mitchell adopted clipped phrases and a dry tone that suited the instrument and the music composed in 1945 at the end of Bartok’s life. There was sharply etched thematic projection throughout the three-movement work. Mr. Taddei was in no hurry with tempos and shaped the long lines and chordal weighting in the Adagio Religioso with care. Laurie Siebold’s piccolo playing was adroit.

In the Allegro Vivace finale balancing instrumental sections is paramount, and Mr. Taddei met the challenge admirably, controlling the often explosive outbursts. Mr. Mitchell’s playing kept pace and even a delightful piano ascending Glissando was added to the mix. A sterling performance of a masterpiece.

Following intermission Dvorák’s D Minor Symphony (No. 7) was heard, one of the last of the Dvorák Symphonies Mr. Taddei has led over several seasons since joining the VSO in 2016. Brahms was an admirer and mentor to Dvorák, and the German master’s C Minor Symphony is mentioned as a model to the Czech composer’s No. 7. Again for me the comparison is weak, and much more Bruckner and different textures seem imbued in the work that premiered in 1885. Mr. Taddei drew a resolute and authoritative reading from his Orchestra, though powerful brass playing frequently overpowered the high strings and made quick ascending unison playing in the first violins blurred.

Throughout the four movements flutist Melanie Keller played the virtuoso parts with consummate artistry, often in duos with clarinetist Diane Maltester and in conjunction with the horn section. The Poco Adagio opened like a summer flower with soft string sound and bucolic woodwind playing. In the Scherzo Mr. Taddei focused on the Czech character of the music with exemplary playing in duos from the cello section and bassoonists Jarratt Rossini and Michelle Keem.

Mr. Taddei continued his consummate orchestral authority in the finale, especially in a dark hued chorale section. In 38 minutes that seemed short the Dvorak’s 7th was an organic whole, the VSO playing splendidly and affirming the conductor’s clear connection with a masterful Symphony and glorious composer.

Audience reaction was swift and loud with applause, the only possible response. Additional Dvorák Symphonies are scheduled for the sets Feb. 29/March 1 and April 18/19, both in the Empress.