Krisha Montgomery, Beth Aiken, Rebecca Ayers, Allen Biggs, Les Pfutzenreuter and Philip Santos

SANTOS' MENDELSSOHN CONCERTO SOARS IN SEASON-ENDING HEALDSBURG PHIL CONCERT

Conductor Les Pfutzenreuter can’t seem to stand by when an orchestra needs a leader. In addition to directing the Ukiah Symphony for two decades he recently directed at the Mendocino Music Festival and this year formed the Healdsburg Philharmonic, giving the group’s first concert in December and on June 2 completed a gala first season in Healdsburg’s Raven Theater.

Some may think this orchestra fills a gap created by the moves south of the Santa Rosa Symphony and American Philharmonic, but the playing on this concert, albeit with standard repertoire, was exemplary. They have things to say.

Mendelssohn’s E Minor Violin Concerto, Op. 64, was easily the highlight of the evening, and Philip Santos a capable soloist. In the opening statement for the violin there was a rising arpeggio passage that wasn’t in sync with the orchestra, but things soon settled down. Mr. Santos used the score throughout and has a beguiling tone, his virtuosity proving why he is a North Bay favorite.

At the end of the Allegro molto’s cadenza the violin soared and the rhythmic acceleration was captivating, as good a transition as I have ever heard in a hall or on recordings of this ever popular work.

In the Andante, following a sustained bassoon tone in B, the orchestra produced a particularly homogenous sound, and the strings carried even when playing softly. Several clarinet lines were picturesque and the blend was good. The spirited finale (Allegro non troppo) was an exciting romp and just before the end the woodwinds supported Mr. Santos’ long trills to great effect.

After studying Beethoven’s Fifth Symphony in C Minor through concerts and four-hand and Liszt’s solo transcriptions, I found myself on familiar ground with Mr. Pfutzenreuter’s reading of the familiar four-movement piece from 1808. He brought brisk tempos to the first movement and noticeable was the lack of lingering on the initial tutti chords, in 2/4 time as written and not in one as is often heard.

The slow movement was on the edge of too fast and had characteristics of a waltz. In the declamatory fourth movement (Allegro) the conductor paid close attention to the thematic lines, no small task considering the tempo and the final 29 measures in C Major are a continuous fortissimo. Thee the Orchestra’s brass was reminiscent of the famed Chicago Symphony – full, in tune, and really loud.

The audience of 150 in the Raven was clearly amazed at the performance and applauded as one.

Opening the concert was smoothly played Coriolan Overture of Beethoven, Op. 62.

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