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MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
SYMPHONY REVIEW
Mendocino Music Festival / Saturday, July 11, 2015
Allan Pollack, conductor. Livia Sohn, violin

Alan Pollack Cheers Livia Sohn July 11 (Nicholas Wilson Photo)

SPLASHY RUSSIAN MUSIC IN MENDOCINO MUSIC FESTIVAL OPENER

by Terry McNeill
Saturday, July 11, 2015

Summer music festivals season tend to be launched each season with a sparkling audience-pleasing program, and the 29th Mendocino Music Festival opening concert was no exception July 11 with an all-Russian program in the big white tent concert hall on Mendocino’s breezy bluff.

Conducted by Artistic Director Allan Pollack, Shostakovich’s Jazz Suite No. 2 was an exciting beginning, a three-movement work from the 1930s that takes raucous orchestration to its zenith. The composer is a master at this kind of music, melding into the rhythms snare drum and trombone solos with in the second movement a “palm court” saxophone part.

Mr. Pollack conducted without score and was able to easily move the music from a circus polka style of the familiar “Waltz 2” movement to a forceful quick ride march in the final “Dance 1.” Bravos from the audience ensued.

Even given the Orchestra’s dynamic playing and catchy themes, the work quickly fades from memory. Not so with the Prokofiev 7th Symphony, the composer’s last from 1952. It’s a curious work, similar to the 7th (and last) of Sibelius in its autumnal character. And there are two possible endings to the last movement, one with a mysterious fade to the bell song of the opening Moderato movement, and one with 22 additional bars of a gallop and pulsating conclusion. I’ve usually heard the former but Mr. Pollack chose the latter, and it worked well.

The noble first-movement theme in C-Sharp Minor was played majestically, the sonic balance good with shining brass contrasting with a lonely triangle part and lovely solos from clarinetist Eric Kritz. Before the lively Allegretto began a faint sound from a rock band from the nearby McCallum House Inn wedding party was heard in the tent, a casualty of how loud music can carry far at night across an ocean bluff. Some audience clapping followed this movement’s conclusion, an acknowledgment of the Thomas Nugent’s oboe playing and pungent trombone and trumpet lines.

The wistful slow Andante was deftly shaped by Mr. Pollack, the music moving through remote keys and graceful colors. Adding to this rich sonic fabric were soft harp arpeggios (Anna Maria Mendieta) and piquant triangle and xylophone playing. A fetching combination.

A lot is going on with the finale’s boisterous march, and the connection to banal parts of the preceding Jazz Suite was palpable. It’s a loud movement in places, the sound distinct through the tent’s direct (non reverb) acoustics. The conductor with his signature sweeping arm movements was able to carefully juxtapose the propulsive and often violent sections with the composer’s mellow nostalgia. It became a satisfying benediction.

Programming this Prokofiev Symphony was a brave choice for Mr. Pollack, and the results were for me the evening’s highlight.

Tchaikovsky ’s marvelous D Major violin concerto with soloist Livia Sohn completed the program. Although even more popular than the Mendelssohn, Beethoven and Brahms concertos, the Tchaikovsky has been seldom played on the North Coast, and the last time I recall it was a potent Marin Symphony performance in 2010 with Vadim Repin.

Thematic richness characterizes the Concerto from 1878, and Ms. Sohn made the most of the Allegro’s stately themes and the conductor’s choice of a slow tempo. The interpretation was not weighty and Ms. Sohn was content to emphasize lyricism, legato ascending scale passages and chaste ritards before delicately held top notes. In climaxes her sound was sporadically covered by the Orchestra, but the long cadenza was played with enough virtuosity, though limited in power, to bring most of the audience of 800 to its feet in an ovation. And it was just the first movement.

In the following Canzonetta Ms. Sohn’s control of pianissimo was assured during short duos with clarinet, oboe and flutists Mindy Rosenfelt and Kathleen Reynolds. The phrases were shaped with elegance and subtle charm.

Without pause the music drove into a lively Allegro vivicissimo, and Mr. Pollack drew from the Orchestra some of the concert’s best playing. The tempo here was brisk, but not so fast that coordination with the violinist was affected. Ms. Sohn’s light and fleet bow technique was well matched to this quintessential pyrotechnical finale, and surprisingly the low register violin sound was as persuasive as the famous splashy high notes.

Applause was long and loud, but no encore was offered.