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Symphony
REFRESHMENT FOR OUR SPIRITS
by Sonia Tubridy
Friday, May 08, 2015
On Friday, May 8, Jeffrey Kahane delivered a tour-de-force piano recital at Weill Hall. The program consisted two great sets of variations for piano, Bach's brilliant Goldberg Variations and Beethoven's Opus 109 Sonata, whose third movement offers transcendent variations on a simple theme. Kahane o...
Symphony
SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD
by Steve Osborn
Sunday, May 03, 2015
Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience ca...
Choral and Vocal
ABS CLOSES 26TH SEASON WITH POTENT BACH AND VIVALDI WORKS
by Terry McNeill
Friday, May 01, 2015
In a May 1 program that balanced vocal and instrumental virtuosity the American Bach Soloists closed their 26th season in grand style in Belvedere’s austere St. Stephen’s Church. Led by the indomitable conductor Jeffrey Thomas the first half of the program featured a rarely heard cello concerto, a ...
Symphony
MOUNT TSUJII ERUPTS AT THE GREEN MUSIC CENTER
by Nicki Bell
Friday, May 01, 2015
A great painter changes the way we see and understand the world. The extraordinary Nobuyuki Tsujii, a 25-year-old Japanese pianist blind since birth, changes the way we hear music. He has a transformative power. Formidable technique, a staggering mastery of pianistic and tonal color, surprising temp...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW ONE
by Joel Cohen
Sunday, April 26, 2015
The MasterCard Performance Series in Weill Hall featured an April 26 recital by cellist Alisa Weilerstein and pianist Inon Barnatan. In Beethoven’s substantial D Major sonata, Op.102, No. 2, the duo were clearly at ease with both the technical demands of the writing and with each other. They show...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW TWO
by Robert Hayden
Sunday, April 26, 2015
This was one of those concerts which far exceeded my expectations. I have heard Alisa Weilerstein several times before, as a colleague in concerts with Jeffrey Kahane, but she has matured and is certainly now one of America’s pre-eminent cellists. Playing before a sadly half empty Weill Hall audie...
Recital
STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT
by Terry McNeill
Sunday, April 19, 2015
Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program ha...
Symphony
LUMINOUS SOUND IN SF SYMPHONY WEILL HALL CONCERT
by Terry McNeill
Thursday, April 16, 2015
Though the Santa Rosa Symphony is the Green Music Center’s resident orchestra, when the San Francisco Symphony plays Weill Hall they take total artistic ownership. In the penultimate of the four annual Bay Area run outs the SFS played a compelling program April 16 of four masterworks with flawless ...
Symphony
WARM RAMADANOFF FAREWELL IN VSO'S MARE ISLAND CONCERT
by Elizabeth Warnimont
Sunday, April 12, 2015
Vallejo bid a fond farewell April 12 to a pillar of the arts community in a concert on Vallejo's Mare Island, as David Ramadanoff directed the Vallejo Symphony in his last concert as conductor. A polite but somber mood hung over Lander hall Sunday and was as pronounced as the notes produced by the ...
Symphony
CONCERTO KÖLN DELIGHTS WITH RARELY-HEARD BAROQUE WORKS
by Joanna Bramel Young
Saturday, April 11, 2015
Weill Hall resonated April 11 with an agreeable group of Baroque works not often heard, though the composers are in fact well known. This assured, skilled plumbing of quiet corners of the repertoire is the specialty of Concerto Köln, based in Cologne, Germany, but received with pleasure throughout t...
SYMPHONY REVIEW
Marin Symphony / Tuesday, January 31, 2012
Alasdair Neale, conductor; Nathan Chan, cello

Cellist Nathan Chan

YOUTHFUL MUSIC AND VIRTUOSITY WELL SERVED IN MARIN SYMPHONY CONCERT

by John Metz
Tuesday, January 31, 2012

Marin Symphony’s first concert of 2012 was on many levels a union of old and new. The symphony, as a musical genre, dates back to the 18th century, with the most notable examples being those of Mozart and Haydn. In the 19th Century its legacy was carried on by master symphonists Beethoven and Schubert, and later by Brahms, Tchaikovsky, and Dvorak. But what about today? Is the symphony still alive today? And if so, which composers are champions of the 21st Century symphony?

If you attended the Jan. 31 concert at the Marin Center you know that Lowell Liebermann is one such composer. Conductor Alasdair Neale and his orchestra gave the West Coast premiere of Liebermann’s Symphony No. 3, op. 113, a single-movement work of about 20 minutes duration. Typically, symphonies are multi-movement works, and although Liebermann’s departs from this norm, the work’s form is clearly divided into three distinct sections.

The Symphony’s opening presents, in succession, three principle motives (a compositional technique Liszt first used in his genre-defying single-movement Piano Sonata). These three motives – a rising melody accompanied by descending whole tones, a disjointed chromatic melody, and a modal three-part chorale – comprise the basic thematic material of the symphony. They are developed in myriad ways, for example, as a waltz, and in the middle section as a blues melody and an octatonic jazz stride, and in the final section as a reflective sarabande. As one may infer, this symphony offers a wide range of stylistic variety, yet never loses its sense of organic unity.

The jazzy allegro middle section comes as a respite amid a work of turbulence, drama, deep sadness, and lost hope. The Symphony is filled with unresolved climaxes. I lost count of how many times a long, harrowing crescendo reached climax only to bottom out into a lingering silence.

The final section, which further develops the chorale theme, is contemplative and emotionally inward, ending in an unresolved recollection of the allegro, played by the flutes and percussion. Mr. Neale appropriately describes the ending as, “a musical question mark.” Perhaps the lack of resolution in his third symphony means we listeners can expect more Liebermann symphonies in the future. I certainly hope so.

The concert opened with a young Liebermann symphony and closed with an old Dvorak Symphony, the No. 9 in E minor, Op. 95, popularly known as the “From The New World.” Framing the concert in symphonies, new and old, enabled the audience not only to hear an old familiar favorite, but to reflect upon the history and evolution of the form – what has brought us from the Czech composer’s forty-five-minute Romantic masterpiece to Liebermann’s more compact expression of darkness, irony, and lost hope. Yet a similar thread, as Mr. Neale noted, does extend throughout these symphonies. That is, just as Liebermann’s symphony offers stylistic variety ranging from blues to waltz, Dvorak incorporates an eclectic mix of influences into his own musical fabric. These influences include Native American music, African American spirituals, and Czech folk tunes from his homeland.

The conductor and the Marin orchestra gave successful renditions of both symphonies, which were met with enthusiastic applause, especially the “New World”. The horns, led by principal Darby Hinshaw, played particularly well in the first and fourth movements of the Dvorak. I was impressed with the elegant performance of English horn player Laura Reynolds.

The highlight of the evening was a performance of Elgar’s Cello Concerto in E minor, op. 85, by 17-year-old Nathan Chan as the soloist. Mr. Chan is a very extroverted performer, who doesn’t just play the music, but shows it – intentionally or not – through dramatic gestures and facial expressions. Though his technical command of the instrument is good, his inner musicality and expressivity is what makes him a stand out instrumentalist. His performance of the elegiac opening melody was sincere and heartfelt. The Allegro molto may have been restrained in tempo, but the cellist instilled enough jollity and whimsy in his performance to make up for any lack of speed. He made the heartfelt and poignant melodies of the third movement sing. Mr. Chan plays with a rich and vibrant tone, though he often loses that richness in the upper register, which tends to sound frail. The fourth movement is an exciting dance-like tour de force, which revisits themes from the third and first movement.

A young cellist playing an old favorite. A 21st Century symphony and a 19th Century symphony. This concert truly was a union of young and old.