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Chamber
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 “
Chamber
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
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
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
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, January 24, 2021
Francesco Lecce-Chong, conductor

Conductor Francesco Lecce-Chong

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 rendering of Bach’s “Ricercare a 6” from The Musical Offering. At that time, the dominant Bach transcriber was Leopold Stokowski, whose lush and heavily orchestrated transcriptions transformed Bach from a cerebral Baroque composer into an unabashed Romanticist. Webern’s approach is almost the complete opposite. His orchestration is spare, and his method is reverent. The net result in both cases, however, is the same: you’re definitely not listening to Bach.

Webern’s main transcribing device is to divide Bach’s fluid lines among several instruments. A melody that starts in the flutes, for example, migrates to the oboes and thence to the strings, each one playing only a few notes. While the Symphony’s playing was uniformly excellent, one wished for a smaller ensemble a 6 where each player could have a full say.

Zwilich’s Concerto Grosso for Chamber Orchestra (1985) continued the transcription motif, albeit in a more indirect way. The five-movement piece is based on the opening theme from a Handel violin sonata, complete with harpsichord. Both the first and last movements quote the Handel theme directly, interpolating it with sections written by Zwilich. The inner three movements are pure Zwilich, although Handel lurks in the background.

Zwilich’s interpolations in the outer movements consist primarily of ascending Coplandesque arpeggios that stand in stark contrast to Handel’s flowing lines. It’s hard at first to discern a connection between the two, but Zwilich sticks with the alternating pattern until the harmonic, rhythmic and harmonic connections become evident.

The inner movements -- a Largo surrounded by two Prestos -- have the same clearly delineated structure as the outer ones, with continuing use of ascending arpeggios. The dramatic melody of the Largo was particularly well played, with the musicians really leaning into the tragic lines. The only complaint one could make is that the harpsichord was difficult to hear.

Next up was a rarely played Sinfonia by Marianna Martines, a contemporary of Mozart’s in Vienna. According to the program notes, the Sinfonia is the only known symphony of the Classical period (1750-1820) composed by a woman. While that distinction accords the Sinfonia a certain level of interest, the work can also stand on its own merits. The orchestration is inventive, and the spritely ascending arpeggios imbue it with joyfulness. The lilting final movement is a standout. Conductor Francesco Lecce-Chong heightened its effect by giving strong downbeats and eliciting firm dynamic contrasts. The echo effects were excellent, as was the hard-charging tempo.

Mozart’s 39th symphony is played so often by so many orchestras that it’s hard to hear anew; but the virtual concert format, coupled with Mr. Lecce-Chong’s sensitivity and expertise, did offer a new way of listening to this masterpiece. To begin with, the reduced forces onstage helped bring out the individual lines, and the sound achieved a limpid quality usually found in string quartets.

Beyond that, Mr. Lecce-Chong’s conducting was magnificent. Using spare motions, he coaxed Mozart’s serene Allegro melody out of the opening Adagio. The first violins sounded like opera singers as they floated above the orchestral underlay throughout the first movement. In the Andante second movement, the inescapable ascending arpeggios set up a fervent response to Mozart’s elegant theme. Mr. Lecce-Chong gave strong beats, but it was his motions between beats that allowed the musicians to bend the notes and flex the rhythm.

The third movement was greeted with a cough from the stage, an apt reminder of the live concert experience. Here the strings put their bowing techniques on display, alternating between a light spiccato and an expressive legato. The clarinet duet by Roy Zajac and Mark Wardlaw was likewise superb.

The finale was stirring. The violins led off with a pitch-perfect blur of notes, with each run clearly articulated. The conductor bent his knees in time with the music, moving everyone hastily along, even as the top lines played melodies of exquisite delicacy. It was hard to imagine so much serenity atop a hurtling object, but everyone landed safely on the resounding final chords.