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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
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.