SRS SEASON ENDS WITH RESOUNDING TA-TA-TA-BANG

Finishing the 97th season, the Santa Rosa Symphony took a long stride June 1 on its “Road to 100” odyssey in a dramatic concert before an audience of 1,200 in Weill Hall. The “Road to 100” is a celebratory march and marketing slogan set to spotlight the Symphony’s nearly 100 years of concerts, and as these things go in the century’s path it’s a good one. As was the playing in two of Beethoven’s symphonies, the series of all nine works culminating in 2027/28.

Lighthearted drama in the D Major Symphony (No. 2) occupied the entire first half, conductor Francesco Lecce-Chong fashioning a middle-of-the-the-road tempo performance over 36 minutes in the Op. 36 four movement work from 1803. Potent thematic projection from horns and trumpets in the opening introduction characterized a movement of bold harmonic changes and spaciousness, and the conductor repeated the exposition briskly with exciting off-beat string accents.

Mr. Lecce-Chong conducted throughout with score but no podium, and the Larghetto unfolded as a lovely response to the boisterous Allegro con brio first movement. Low string support was ample, and the conductor crafted several subtle and flexible decrescendos diminuendos.

The music developed smoothly in the Scherzo (that’s not a conventional scherzo) and emphasized a strident F-Sharp Major key and short climaxes with trumpets (Kale Cummings and Leonard Ott) and Andrew Lewis’ tympani mastery.

People think of Haydn as the preeminent humorist in symphonies, but wittiness is shot through Beethoven’s compositions, and on display here in the finale with a small coy theme and lots of sonorous tremolo playing. The composer simply can’t let go of tuneful possibilities.

The afternoon’s piece de resistance, the iconic C Minor Symphony (No. 5), Op. 67, followed a lengthy intermission and extended from the stage remarks from the conductor about Beethoven’s universal impact. No grass grew here from the outset, Mr. Lecce-Chong eschewing extended pauses between the insistent, famous ta-ta-ta-TA motives and underscoring a compressed and powerful first movement interpretation that shortened fermatas and many phrases. Horn solos (Alena Zidlicky and Jason Whitney) were perfectly synchronized (and loud). At one place the horn line was held for many bars on one note.

The mesmerizing theme was supported by four basses and six cellos, the upper strings and the horns continually repeating the tune and cementing the musical concentration. The Coda was played violently.

Contrasting the first movement with the following Andante’s melodic variations was almost shocking under the conductor’s deft direction. All seemed leisurely with a slight yearning and palpable charm. A flute and oboe duo (Kathleen and Laura Reynolds) was beguiling.

The Scherzo was played quietly with clear articulation from basses and cellos, and Mr. Lecce- Chong’s control of the pianissimo sound was impressive. The finale was as expected thunderous, and added to the mix were three trombones, Juliet Hamak's contrabassoon and a piercing piccolo part (Stacy Pelinka). It was a triumph in C Major: long buildups of wonderfully blasting expressive sound that made the most of the hall’s half second plus reverberation time. Tension coupled with exalted release, 36 minutes of genius.

A resounding standing ovation brought the conductor several curtains calls and his recognition of instrumentalists, the most touching being Mr. Lecce-Chong’s quick foray into the standing orchestra to personally congratulate trombonist Kurt Patzner. Mr. Patzner was retiring after three decades of artistic service.

Other than a few summer chamber music events, the season was over with the concluding tumult. But not quite, as Executive Director Andrew Bradford and Board Chair Keven Brown invited the entire audience (yep, everyone) to a gratis glass of refreshment on the Weill lawn, where there was access to food trucks and chance to chat with members of this sterling orchestra.