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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
SYMPHONY REVIEW

College of Marin Orchestra Conductor Tara Flandreau

TWO HALVES WITH A FEW HOLES

by Terry McNeill
Sunday, November 22, 2009

After many decades of attending concerts, a listener (or reviewer) faces a tough decision after hearing a first half that in some way is not a complete artistic whole. Leave early or stay for the promising second part? In almost every case not hearing the music that follows intermission would be a mistake. It was thus at the College of Marin (COM) Symphony Orchestra’s concert Nov. 22 at Unity Church on the old Hamilton Air Force Base.

Just two works comprised the program, the first being the most popular of all piano concertos, Tchaikovsky’s No. 1 in B Flat, Op. 23. COM faculty pianist Paul Smith made a heroic effort as the soloist to make the best of a less-than-ideal set of circumstances. The hall, packed with extra seats in the aisles, was overly bright with a long reverberation. The piano was not of professional caliber, and the orchestra, under the baton of Tara Flandreau, experienced pesky intonation problems and inconsistent brass playing. That said, the first movement unfolded with pliant string sounds, fluent but conventional phrasing from the conductor, and the wonderful clarinet playing of David Treganowen. Mr. Treganowen, along with flutist Bruce Salvisberg and bassoonist Karen Wright, played elegantly all afternoon. Mr. Smith’s cadenza, using a lot of pedal in an attempt to generate sound from the instrument, was in the grand manner if not in the middle of the Russian romantic tradition.

In the Adagio, the orchestra’s persistent covering of the soloist disappeared, and a more satisfying interplay of lines appeared. The long trills from the piano were evenly shaped, and the fetching themes were stated with dignity.

Tchaikovsky’s concluding movement has equitable balances between the piano and orchestra, and Ms. Flandreau was in no hurry to get anywhere. Right up to the famous ascending forte octave passage for piano, the orchestra played well. Mr. Smith made the most of these octaves, using half-pedal and getting as much sound as the instrument would give. He didn’t choose the left-hand octave tremolo at the final tutti. A standing ovation ensued.

Shostakovich’s Fifth Symphony is a daunting prospect for a non-professional orchestra, the technical demands to the last desk heavy and nearly always exposed. But the 1937 work brought a sharply different orchestra than was heard in the Tchaikovsky, the attacks and releases more sure, the strings more resonant. There was more security of pitch for the brass section, and the addition of the accompanying piano and electronic celesta was welcome. In the opening Moderato, the big sound was clear, and the tempo was steady. Piccolo soloist Dawna Stebbins played with penetrating clarity. Virtuosic playing in the second movement came from Ms. Wright and from the pizzicato unisons in the strings.

The long Largo, a precursor to Hovhanness’ “Mysterious Mountain” Symphony, was taken at an overly relaxed tempo, but it also left plenty of time for the counterpoint from Messrs. Salvisberg and Treganowen and the beguiling harp playing of Michelyn French. A threnody, the sad march moved deliberately along, the harp and celesta parts in a duo which echoed much of the composer’s more dissonant and longer Fourth Symphony (1936).

Ms. Flandreau brought to the Allegro non troppo the requisite power, the return of the march theme again having the benefit of precision string playing and the reiteration of the “A” notes in the violins. The tympani solo (Robert Jakubs) was positively militaristic, a sober introduction to the carnage of the finale, where Ms. Flandreau carefully slowed the tempo to the last potent chords, holding the audience breathless.

Shostakovich’s mighty creation always generates a standing ovation, and it received one here.