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Recital
DYNAMIC PIANISM IN YAKUSHEV MARIN RECITAL
by Terry McNeill
Sunday, January 23, 2022
Russian pianist Ilya Yakushev arrived Jan. 23 at his Mill Valley Chamber Music Society recital with the repute of playing loud and fast and delivering charming introductory musical remarks to his audience. He was true to form in Mill Valley’s Mt. Tamalpais Methodist Church, preceding Haydn’s sple
Symphony
THE SHOW MUST GO ON
by Steve Osborn
Sunday, January 9, 2022
The Jan. 9 Santa Rosa Symphony concert was supposed to feature the world premiere of Gabriella Smith’s first symphony, but it ended up featuring another type of premiere: a concert that was conceived, rehearsed and performed in less than eight hours. Symphony staff learned on Sunday morning that so
Choral and Vocal
AN OLD FRIEND RETURNS TO WEILL IN STERLING ABS MESSIAH PERFORMANCE
by Pamela Hicks Gailey
Sunday, December 19, 2021
A tremendous accomplishment by the American Bach Soloists Dec. 19 was near perfect performance of Handel's Messiah in Weill Hall. Long an annual tradition at San Francisco's Grace Cathedral, the ABS took to the road and delivered a Christmas gift of epic proportions to an obviously thrilled and enth
Symphony
SHOSTAKOVICH FIFTH THUNDERS AT WEILL HALL CONCERT
by Terry McNeill
Sunday, December 5, 2021
In a new season marketed as “Classical Reunion,” the Santa Rosa Symphony made a palpable connection with its audience at the early December set of three standing ovation concerts in Weill Hall. The December 5 concert, with 1,000 attending, is reviewed here. Vaughan Williams’ popular Fantasia on a T
Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
SYMPHONY REVIEW
American Philharmonic, Sonoma County / Sunday, April 27, 2008
Gabriel Sakakeeny

Gabriel Sakakeeny

A TRIUMPH OF INSPIRED PROGRAMMING

by Terry McNeill
Sunday, May 18, 2008

Season finales for orchestras seem always to be memorable events, and the American Philharmonic Sonoma County concert on May 18 was no exception. Before an audience of 900 at the Wells Fargo Center, the county's 'other' orchestra provided a rousing ending to an adventuresome season.

How adventuresome' In earlier concerts this season, this orchestra of mainly non-professional performers played Stravinsky's 'Rite of Spring' and Scriabin's 'Poem of Ecstasy.' Sunday's menu, aimed at young attendees, shunned the usual 'Peter and the Wolf' and 'Young Person's Guide to the Orchestra,' offering instead five substantial and varied works.

Music Director Gabriel Sakakeeny began in a romantic vein, speaking to the assemblage of the tribulations of Shakespeare's Romeo and Juliet, and then conducting Tchaikovsky's 'Overture-Fantasy' about the doomed lovers. The beginning in the bassoon and clarinet sections was shaky, but it was to be the last pesky playing of a glorious afternoon. Sakakeeny made the most of generally slow tempos to bring out the thematic richness. The cello section was especially sumptuous.

How better to follow the lush Tchaikovsky than with the pungent and now almost equally popular 'Short Ride in a Fast Machine' by California composer John Adams' This joyous minimalist work from 1981, a precursor to 'The Chairman Dances,' begins with a woodblock playing more loudly than the orchestra, which is already at forte, and continues for just four minutes. Sakakeeny kept the hurtling rhythms in check. An Arizona composer friend once lamented that Adams's great success was partially due to using snazzy titles, but here the 'Short Ride' was appropriate and telling.

Completing the first half was another sonic reversal, the 300-year old Concerto for Two Trumpets by Tomaso Albinoni. Soloists Daniel Norris and Thomas Hyde played what I think were B-flat piccolo trumpets. The opening theme was a call to action, with the bright sounds from the adept solo playing easily cutting through the orchestral fabric. Only the most rapid passage work gave the soloists any clarity trouble. It was a celebratory concerto, well played in a Baroque style. Was it a nod to ancient practice to have half the ensemble standing, and half seated'

There is a mystical and religious feel to most of the compositions of Alan Hovhaness (1911-2000), and in his 1970 work 'And God Created Great Whales' the effects are memorable: pre-recorded yelps, snores and grunts of various whales, along with some aleatory parts for the players. The string tremolos, first appearing in the bass viols and then in the violas and violins, were evocative, as were the harp solos and descending trombone slides. An inspired selection, skillfully performed.

The concert concluded with Respighi's colorfully scored 'Pines of Rome,' a four-movement 1924 work. The opening Via Borghese section depicted youthful frolics in Rome's great park, followed by chilling bass sounds from the depths, Catacombs. The highlights came in the Janiculum section, with prismatic arpeggio flourishes from the orchestra's pianist leading to haunting solos from the clarinet, harp, celesta and oboe. The recorded voice of a nightingale provided a benediction.

The brilliant march of the concluding Pines of the Appian Way spotlights off-stage brass and English horn solos, driving the music to an inexorable climax, a champagne orgy of sound fitted to a marching Roman army outbound on a quest for empire. The orchestra's brass section made a generous contribution to the surround-sound effect. Here one couldn't quibble with the Wells Fargo Center's acoustics, as the dramatic effects brought listeners into the army's Appian Way column and ultimately to their feet.

Sakakeeny has said that repertoire choice is crucial to the success of the American Philharmonic, perhaps more so than for the Santa Rosa Symphony or even the San Francisco. People come to the last two orchestras often by tradition, but the American Phil lives or dies by providing familiar and sporadically challenging music to listeners, many of whom are having their initial symphony experience. The orchestra is meeting this need, and their concert was a triumph of inspired programming and adroit playing.