Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
STYLISH HAYDN QUARTETS CLOSE GREEN ROOM SERIES
by Terry McNeill
Sunday, May 9, 2021
Completing the Green Music Center’s spring series series of “Green Room” virtual concerts, the St. Lawrence String Quartet played May 9 a lightweight program of two Haydn works. Lightweight perhaps, but in every way satisfying. The G Major Quartet (Op. 76, No.1) began the music that was supplement...
Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
SYMPHONY REVIEW
Sonoma County Philharmonic / Saturday, November 16, 2019
Norman Gamboa, conductor. San Francisco Conservatory of Music Pre-College Division Competition Winner as Soloist (TBA)

Violinist Pierce Wang with Conductor Norman Gamboa

ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON

by Terry McNeill
Saturday, November 16, 2019

Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award.

It’s pretty hard to not move your body with Rossini’s infectious rhythms and thematic charm, and the audience of 200 seemed to enjoy doing so, even with conductor Norman Gamboa adopting mostly poky tempos and conventional phrasing. The horn section sounded pungently brassy and oboist Chris Krive’s elegant playing paralleled the virtuosity of Debra Scheüerman’s flute and the smile inducing high-wire piccolo line of Emily Reynolds. This Overture from the early 1820s is a sure-fire opening for whatever comes next in the program, usually musically disparate. Loud bravos and applause were heard.

And different Prokofiev’s D Major Violin Concerto was, with the young soloist Pierce Wang playing without score, and though it took a while for him to get going, he did catch the mysterious shimmer of the opening chords. His upper register was his most secure, and the So Co Phil woodwind section gave admirable support throughout the opening Andantino – Andante. Christina Kopriva’s harp solos were always audible. In the second Adagio di molto movement the composer’s dissonant harmonies were strikingly played in the brass and Mr. Wang’s octave playing, with occasional pitch variance, combined in duos with the flute and piccolo. Ms. Kopriva played a lovely glissando half way through and the high strings sang again the melancholy first theme.

Fine bassoon (Miranda Kincaid) and clarinet playing were heard in the finale, with Floyd Reinhart’s tuba line heard clearly behind the pyrotechnical virtuosity from the soloist’s double stops, quasi-sarcastic tune projection and fast ascending scale passages. Surprisingly the Concerto ended with a long fermata in D major, and a return to the quiet shimmer of the opening. It was haunting and beautiful. The applause was long and strong, with a bouquet for Mr. Wang, one curtain call, a short speech by an SF Conservatory Dean, but no soloist encore.

There had been talk that County fire-related abbreviated rehearsals could affect the Orchestra’s ability to manage the many rhythmic complexities of Rachmaninoff’s Op. 45 Symphonic Dances. But no worry, as Mr. Gamboa drew a performance that underscored the composer’s brilliant orchestration with glittering playing in each section. In three loose movements the Dances have consonant harmonies and include sad themes with a seemingly Czarist Russian color and flavor. Contributing to the rich sonic mix were Mr. Krive and clarinetist Nick Xenelis; bass clarinetist Kathy Brooks, harp and Orchestra pianist Carol Schindler .

Short march sections featured four horns and at times three trumpets, and the playing veered in the Lento assai – Allegro from and occasional raw sonic “edge” to a swaying 1930s dance character, with difficult undulating passages for the violins. The conductor found the nostalgic warmth that underlies even the most demanding writing, a character of the composer’s music from this 1940 work and the A Minor Symphony (his third) that came just four years before. The woodwinds in this movement were first cabin, as were Dave Lindgren’s trumpet playing and the bright snare drum rattle from an unannounced percussion player.

It was altogether a wholly creditable and convincing concert, the second in a set of two. Mr. Gamboa conducts an all French program (Debussy, Ravel, Berlioz) the first two days of February in Jackson, the Philharmonic’s penultimate concert of the 2019/2020 season.