Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
Chamber
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
CHAMBER REVIEW
ECHO Chamber Orchestra / Saturday, July 10, 2021
Daniel Canosa, conductor. Carol Adee, Flute

l to r: C Stewart, W. Loder, M. Eldridge, J. Cohen

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 up helter-skelter for the first part of the program.

Knowing this would challenge some audience members, flutist Carol Adee, ECHO ebullient personnel manager, promised popsicles for all who stayed to the end. On such a warm evening, it was a tantalizing incentive.

The concert opened with two of the three movements in Daniel Pinkham’s “Fanfare, Aria, and Echo for Two Horns and Timpani.” New Englander Pinkham (1923-2006) was a prominent organist and harpsichordist, and a composer in love with early music. Aria (Lento) opened with a mournful duet by hornists Beth Milne and Ruth Wilson, into which timpanist Christian Foster-Howes insinuated an ominous rumble that raced and slowed. The voices of the horns, like human voices, blended and diverged, leapt and crouched, trembling on the knifepoint of dissonance, and rose in piquant harmonies. The canonic Echo ended with a thrice-repeated note--like a question for which there was no answer.

Next was the luscious Trio Sonata No. 1 in F major, ZWV 181/1 by the Czech Jan Dismas Zelenka, written in 1722. Oboists Jon Arneson and Margo Golding performed with dulcet and airy acrobatic phrases, and cellist Margaret Mores provided the baritone voice originally written for bassoon. The performance, just two movements (Adagio non troppo and Allegro) of the sonata’s four, wowed the audience with the compositional complexity and inventiveness of this less-known Baroque master.

Zelenka wrote a lot of sacred music that has been performed in the church, but his secular music, on a par with that of his admirer Bach, was only rediscovered in the 1950s. As Ms. Mores’ cello furnished the anchor to earth, the oboes went on flights of intricate fancy. The performers played with ease, depth, and expressiveness.

The progressive “musical promenade” now moved chairs and all to the church’s lower courtyard to hear a quartet of violinists Charmian Stewart and Wendy Loder, violist Margaret Eldridge, and cellist Joel Cohen play four foot-tapping, head-bobbing, and heartrending Scandinavian folk tunes that were arranged by the Danish String Quartet. They began with the Danish traditional tune “5 Sheep 4 Goats,” which, while joyful on the surface, has a strain of melancholy like so much Nordic music. The slower-paced Swedish tune “Waltz after Lasse in Lyby” was next, and it flowed like waves or seabirds in flight.

On to “Rybers #8,” a lively and intricately woven tune that held suggestions of bagpipes; and finally, “Sekstur from Vendsyssel - The Peat Dance,” a rouser in 6/8 time related to the British jig. At times it was like a child’s chasing game, or a game of Catch the Tune; sometimes the sound was like bees humming, and sometimes it was dark and dissonant before turning sunny. When the notes faded, the audience cheered. It was a high point of the concert.

Gregory Wanamaker’s Sonata for Clarinet and Tenor Saxophone (2002), performed by Matt Rupert, clarinet, and Robert Beard, saxophone, followed. The composition has four movements but just two were performed: “Arrival” and “Departure.” Here the composer’s intent seemed to explore similarities between the sax and clarinet, which are rarely paired. That’s the surface, but a great deal goes on beneath the surface of his exploration. The sonata is quite popular and has been performed over 500 times and is featured on five recordings. At once duet and duel, it evokes the motion, traffic-light synchronization, and near-fatal collisions of a big-city street during rush hour: a high-speed catch-me-if-you-can, a conversation at warp speed, with harmonious meetings and jarring separations, and never a time to rest—all played this evening with virtuosity that left one breathless.

The audience then moved into the (too warm) church sanctuary for the final three performances, with ECHO musicians helping move the chairs and stack them. Once inside the church they presented “The Other Side,” a pandemic-themed tone poem in three parts by Matthew Rupert, Kevin Gordon, and ECHO Director Daniel Canosa. “Fragments: Elegy” by Mr. Rupert opens the piece, a eulogy to everything lost during the past year and a half: plans cancelled, the isolation of sheltering in place, the ways individuals have found to cope with drastic changes and fear. It opened with the tolling of the gong, evoking the appearance of the virus and foretelling tragedy. Intensity rose as other instruments joined in until the whole orchestra sounded a collective elegiac cry. Christian Foster Howes’ percussion playing was outstanding.

“Contagion: Agitato” by Mr. Gordon expressed the anxiety and pain of a silent killer, viscerally capturing the anguish of never knowing when and whom it would strike. It also began with strikes of the gong, then an alarmed flutter of the strings leading to a blaring of horns that seemed to sound the alarm felt as the COVID-19 virus spread fast. Flutes fluttered fearfully and the drum beat a dread-saturated ostinato. Again, the gong sounded as the movement closed.

Mr. Canosa’s “The Shore: Chorale” expressed the tentative emergence from isolation and its cautious celebration. It began with the bright sound of the xylophone and angelic unison of the string section led by concertmaster Odin Mitaine. There was a palpable lifting of spirits and a melodic sweetness signaling reconciliation and acceptance of changes wrought by the pandemic. Still, “Chorale’s” message was not exactly optimistic, seeming to end on a note of uncertainty. “The Other Side” hopefully will be performed again by ECHO and may have a place in the canon of pandemic-themed musical compositions.

Two Mozart compositions completed the programming. Carol Adee was soloist for the lovely Andante in C for Flute and Orchestra K. 315 (1778). A stripped-down orchestra of strings, two oboes and two horns were perfect, and Ms. Adee played with satiny grace and delicate, almost playful, lightness, her interpretation inviting the audience to share in its beauty and her love for the instrument.

The evening’s finale was the majestic D major Symphony, No. 35, K. 385 (“Haffner”). Its first movement (Allegro con spiritu) was performed with vigorous rhythmic interest and cascading runs, and built excitement. In the Minuetto the music became quietly blissful, and led to a Presto conclusion that was both celebratory and triumphal. The performance tempos were brisk throughout, and the rousing playing in the finale prompted a standing ovation.

As popsicles were passed out in the patio, the audience mingled with the musicians, and it was clear that ECHO Chamber Orchestra is back in full force.