A SOUND TO BEHOLD
by Steve Osborn
Saturday, May 07, 2016
Concert titles are rarely specific, but the one for the Santa Rosa Symphony’s May 7 concert, “Jazzy Impressions,” is as literal as they get. The first half consisted of two American pieces influenced by jazz, and the second of two French works in the impressionist style.
Pairing two similar pieces ...
AT THE BOUNDARIES OF MUSICAL EXPLORATION
by Sonia Morse Tubridy and Nicki Bell
Friday, May 06, 2016
On May 6 at Weill Hall, pianist Yuja Wang gave a much-anticipated recital of Brahms, Schumann and Beethoven. This young artist has been heralded internationally for her brilliant virtuosic technique and sensational performances. In this recital, her first to focus on a Beethoven sonata, she played h...
A WANDERING MILLER IN SCHUBERT'S AGELESS CYCLE
by Mark Kratz
Sunday, April 24, 2016
The Green Center’s Weill Hall is a Sonoma County treasure that allows North Bay audiences to enjoy the world’s finest musicians against the backdrop of our grapevine-covered hills. German baritone Matthias Goerne and pianist Alexander Schmalcz presented a recital of Schubert’s song cycle "Die Schön...
EERIE SCHUBERT AND SOPORIFIC BRAHMS IN MIDORI RECITAL IN WEILL
by Terry McNeill
Saturday, April 23, 2016
California has long been a big part of Midori Goto’s career, and she now teaches and tours from the USC campus in Los Angeles. After never performing in Sonoma County, the violinist’s area debut April 23 in Weill was a moderate success before an audience of 800 that included a large sprinkling of s...
Choral and Vocal
EASTER AND ASCENSION ORATORIOS SOAR IN ABS MARIN CONCERT
by Joanna Bramel Young
Friday, April 22, 2016
Three baroque composers were brought together April 22 at the American Bach Soloists‘ offering of oratorios: Buxtehude, Johann Kuhnau and Bach. In Belvedere’s St. Stephen’s Church the ABS highlighted the sequence of influence for these three masters, displaying stunning choral singing, virtuoso in...
CHRISTIE RETURNS TO SCHROEDER WITH THE FAMILIAR AND THE NEW
by James Harrod
Sunday, April 17, 2016
Organist James David Christie returned to Schroeder Hall on the SSU campus April 17 to play an awesome concert of Baroque music on the Hall’s Brombough Opus 9 organ. The artist performed to a large appreciative and attentive audience, and presented both familiar and unknown musical selections from t...
Choral and Vocal
CHANTICLEER SINGS TO THE MOON IN WEILL HALL CONCERT
by Sonia Morse Tubridy
Saturday, April 16, 2016
The renowned male a cappella Chanticleer choir presented an "Over the Moon" program April 15 at the Green Music Centers Weill Hall. The audience, including many choral music cognoscenti, was entranced by a varied and enriching program spanning centuries and continents. The theme of the evening was...
SPANISH SPLENDOR IN SO CO PHIL'S SEASON FINALE CONCERT
by Terry McNeill
Sunday, April 10, 2016
Two program staples for the Sonoma County Philharmonic have been works of a Latin flavor, and spotlighting local soloists. Conductor Norman Gamboa has mounted intriguing Central American, Mexican and Spanish works for years, and flutist Kathleen Lane Reynolds, pianists Alice Zhu Lauren Xie, and tro...
OAKMONT 25TH ANNIVERSARY CONCERT FEATURES KAHANE'S SCHUBERT AND CHOPIN
by Terry McNeill
Sunday, April 10, 2016
Jeffery Kahane spreads his musical largess widely. Since leaving a Sonoma County residence for Colorado the pianist has returned often for performances, the most recent the wildly successful ChamberFest series at the Green Music Center last summer.
April 10 found him again in Sonoma County, this t...
COLORFUL FALLA AND PROVOCATIVE BRITTEN WORKS IN SRS WEILL HALL CONCERTS
by Terry McNeill
Monday, April 04, 2016
Current fashion in orchestra season marketing showcases themes, and it’s de rigueur
now, from the fledgling Sonoma County Philharmonic to the august San Francisco Symphony. Some of these themes are inane, but the Santa Rosa Symphony’s set of three concerts beginning April 2, with the event ...
Harpsichordist Robin Sutherland
BACH AND PART PAIR PERFECTLY IN MARIN SYMPHONY CONCERT
by John Metz
Tuesday, March 06, 2012
High Baroque composer J. S. Bach and minimalist Estonian composer Arvo Pärt aren’t such an unlikely pair, and the Marin Symphony played to this connection in their most recent program at the Marin Center.
The evening started with the first of Bach’s Brandenburg Concerti. Like in the other Brandenburgs, the full orchestra performs in interplay with the featured concertino group. The concertante in the first Brandenburg consists of two horns, three oboes, a bassoon, and violin, though the horns are perhaps featured the most. And this is quite the showpiece for them. Horns in Bach’s time were valveless, which limited their range, especially in the lower register. Thus, these parts are written in a rather high tessitura. Playing in this range for the full duration of the concerto can be exhausting for players of the modern horn. And yes, this evening’s horn players certainly faced their challenges, but in the end gave a worthy performance – especially in the minuet finale, which also contained some lovely playing from the oboes and bassoons.
Juxtaposed between the first and third Brandenburg Concerti was Arvo Pärt’s famous Frates, arranged by the composer himself for solo violin, string orchestra, and percussion. Concertmaster Jeremy Constant was the evening’s soloist, and his solo introduction was raw, bold, and unhindered, even if not technically perfect. This lead to the main body of the work, which is more meditative, consisting of a singular sustained bass note, supporting the orchestra’s colorful chord sequences and the solo violin’s more freely written embellishments, often containing an abundance of harmonics. Between the various chord sequences, the high strings go silent, the percussion briefly plays, and the violinist strums a chord. This happens eight or nine times until the final chord sequence, which brings the work to a quiet and soothing close.
The third Brandenburg Concerto eschews the concertante group entirely, and instead features a small string chamber orchestra in which the violins, violas, and cellos are divided each into three parts. Thus each performer carries his or her own line. And with the addition of the continuo part, this amounts to ten separate melodic lines at once. This performance of this work was one of the highlights of the evening. The strings along with harpsichordist Robin Sutherland gave a splendid performance of this exciting piece. It was a great closing to the first half.
The concert’s second half began with the Brandenburg Concerto No. 4, again featuring Mr. Constant as well as flautists Monica Daniel-Barker and Katrina Walker. This work is in three movements, the first is marked by a memorable melody in the flutes, in addition to some impressive fingerwork for Constant on violin. The second movement contained some refined and expressive flute playing from Ms. Daniel-Barker and Ms. Walker. And of course the finale: a clever fugue whose style is somewhere between a fugue proper and a concerto grosso.
Pärt’s Cantus in Memory of Benjamin Britten is pure grief in the form of sound. It begins with a high, multilayered line that gradually descends to evoke weeping. As it progresses, the lines grow in intensity to evoke the fullness of Pärt’s anguish after Britten’s death. Throughout this intensification, the death bell tolls over and over again, never letting the listener move on, reminding us again and again of the void that will never again be filled. I enjoyed this performance but was confused by Alasdair Neale’s conducting, which lacked subtlety and seemed inappropriate to the music being performed.
The concert closed with Bach’s fifth Brandenburg Concerto, perhaps the most concerto-like (in the modern sense) of the entire set. Here the soloists were again Mr. Constant, Ms. Daniel-Barker on flute, and Mr. Sutherland. The first movement contains some virtuosic moments from all three soloists, the most striking of all being the extended keyboard cadenza, which bursts forth, seemingly out of nowhere, and derails the entire ensemble in the most exciting and heroic way. Mr. Sutherland, who had filled the supportive role of continuo for much of the evening, now proved himself a soloist of the highest caliber. The string orchestra drops out for the second movement as the three members of the concertante perform a trio sonata. The third movement starts with the concertante alone, slowly evolves to incorporate the strings, and finally erupts into some of the most brilliant counterpoint of all Bach’s Brandenburg Concerti.
It was an impressive ending to the Marin Symphony’s best concert so far this season.