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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
San Francisco Symphony / Thursday, November 21, 2013
Semyon Bychkov, conductor. Till Fellner, piano

Conductor Semyon Bychkov

A DARK AND STORMY NIGHT

by Steve Osborn
Thursday, November 21, 2013

One way to get a free glass of wine is to buy a ticket to a San Francisco Symphony concert at the Green Music Center, wait for a dark and stormy night, then stroll into Weill Hall and behold a nearly empty stage, with only a solitary cellist tuning his instrument.

That's what happened on Thursday evening, Nov. 21, when the Symphony's buses were delayed on Highway 101 by a fallen tree and a massive traffic jam. Promptly at 8, a Symphony representative walked on stage and announced that the concert would be postponed until 8:30, at which point GMC Executive Director Larry Furukawa-Schlereth announced that everyone would get a free glass of wine. A mass exodus ensued.

The stormy night provided a fitting context for the eventual program, which did begin as promised. The first half offered the brooding Mozart Piano Concerto No. 24, one of his few concertos in a minor key (C minor), and perhaps his most introspective. Mozart's anguish then gave way in the second half to Richard Strauss's ebullient "An Alpine Symphony," a veritable avalanche of sound, complete with wind and thunder machines.

Austrian pianist Till Fellner played the role of Mozart, who premiered his C minor concerto in April 1786 to a presumably befuddled Viennese audience. Unlike almost all his other concertos, the C minor is neither happy, nor flashy, nor crowd-pleasing. It's also not so much a piano concerto as a sinfonia concertante for woodwinds, who are featured throughout the work.

Fellner is an exceedingly correct pianist. He sits ramrod-straight on the piano bench, with nary a wasted motion. When playing, his elbows are just slightly bent, but somehow his fingers act as spring-loaded triggers, striking the keys with the utmost precision and fortitude.

Gently urged forward by guest conductor Semyon Bychkov, a reduced band of Symphony players intoned the concerto's doleful introduction, which sounds like the beginning of a march to the scaffold. The tempo was luxuriant, the motion fluid, the texture polished. Upon entry, Fellner was a model of restraint, playing his line with the utmost precision and extolling the virtues of quietude. His only release came during the operatic cadenza, which he played to perfection.

The restraint continued into the second movement, where Fellner offered an almost staccato approach to the deceptively simple melody (one note, then two, then three ascending, then five descending) that recurs throughout the Rondo form. His touch was feather-light, his timing impeccable.

The tempo was again luxurious in the finale, a set of variations with occasional glimpses of a major key within an ultimately triumphant minor mode. Fellner's left hand was particularly strong in bringing out the grim rhythms and moods that dominate the work. At the end, the applause from the nearly full house was subdued, without the customary ovation--but then it's hard to imagine anyone jumping up and cheering after such a somber work.

The ovation came at the end of the program, after an impassioned reading of Richard Strauss's "Alpine Symphony," the last in his long series of tone poems. The term "symphony" is actually a misnomer in this case because the work is just one long movement with 22 separate episodes, with little of the thematic development that one encounters in a typical symphony. Instead, it's all about painting pictures with sound.

Strauss works on a massive canvas with an inordinate number of brushes and colors. His score calls for about 130 players on a stupefying array of instruments, including not only the aforementioned wind and thunder machines, but also a heckelphone (bass oboe), four Wagner horns, innumerable percussion instruments, an organ, two harps and an offstage brass ensemble.

Keeping this menagerie under control is more than a challenge, but Bychkov seemed utterly unperturbed. He kept his feet firmly planted on the podium, compelling the orchestra to do his bidding through graceful movements of his baton and occasional shakes of his curly hair. The low, slow beginning ("Night") seemed almost frozen, with the violins barely moving their bows. In time, this gave way to a massive crescendo ("Sunrise") that threatened to break the windows.

And so it went throughout the misnamed symphony. Each of the 22 episodes came into being, offered its specific sonic image ("At the Waterfall," "On Flowering Meadows," "On the Glacier"), then either faded out or butted heads with the next. Within the episodes, the sound was often shimmering, iridescent and luminous, the spectacular result of Strauss's finely crafted orchestration.

Inevitably, the climax came toward the end, with a thoroughly convincing "Thunderstorm and Tempest." Everyone on stage played at top volume, and the percussionist manning the wind machine nearly tore his arm out of its socket while winding the contraption around and around. This prodigious display of force gradually morphed into a truly magical section beginning with the organ invoking the blessed silence of a church, followed by magisterial and gradually waning tones from the rest of the mighty ensemble. At the end, Bychkov held his hands aloft for a long moment before summoning the thunderous applause.