ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
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.