Symphony
SRS SEASON ENDS WITH RESOUNDING TA-TA-TA-BANG
by Terry McNeill
Sunday, June 1, 2025
Symphony
YOUTHFUL VIRTUOSITY ON DISPLAY AT USO'S MAY CONCERTS
by Peter Lert
Saturday, May 17, 2025
Symphony
MYSTICAL PLANETS AND LIVELY GERSHWIN ORTIZ AT FINAL SRS CONCERT
by Peter Lert
Sunday, May 4, 2025
Symphony
VSO'S CONCERT MUSIC OF TIME, MUSIC OF PLACE
by Peter Lert
Sunday, April 27, 2025
Choral and Vocal
VOCAL ELEGANCE AND FIRE AT THE 222'S RECITAL APRIL 26
by Pamela Hicks Gailey
Saturday, April 26, 2025
CANTIAMO SONOMA SINGS AN INSPIRED GOOD FRIDAY MOZART REQUIEM CONCERT
by Pamela Hicks Gailey
Friday, April 18, 2025
DRAMATIC SHOSTAKOVICH SYMPHONY CLOSES PHILHARMONIC'S 25TH SEASON
by Terry McNeill
Sunday, April 13, 2025
LARGE COLLEGE OF MARIN AUDIENCE GREETS STOPHER ARTISTRY
by Terry McNeill
Saturday, April 5, 2025
Chamber
FRISSON DELIVERS SHIVERS OF DELIGHT
by Abby Wasserman
Sunday, March 30, 2025
OLD AND MOSTLY NEW IN SRS MARCH CONCERT IN WEILL
by Peter Lert
Saturday, March 22, 2025
|
 |
 Marin Symphony's Monica Daniel-Barker |
COLORFUL DISSONANCES DRIVE STRAVINSKY WORK IN MARIN
by
Sunday, April 5, 2009
Without doubt, the Marin Symphony concert April 5 was a tour de force performance of exceptional virtuosity and brilliance. From the opening local premiere of Roberto Sierra’s Carnaval to Stravinsky’s Rite of Spring, Conductor Alasdair Neale led an evening with the stress on orchestra bravura.
Sierra’s work, commissioned by the Northern California Magnum Opus project, is a spirited piece in five parts, evoking the composer’s rich imagination of mythical creatures consisting of “Gargoyles, Sphinxes, Unicorns, Dragons and The Phoenix.” Born in Puerto Rico but principally trained in Europe, Roberto's exuberantly-crafted Carnival reflects the rich Latin rhythms of his homeland, while the score is structured in the classical symphonic tradition. Though this music is not easily assimilated at first hearing, Sierra’s rhythmic wizardry combined with the succinct structure brought the five character sketches together into a cohesive whole. It is an extraordinary piece, worthy of more performances. Special kudos go to the four members of the percussion section who brought the pungent rhythms to the fore with excitement and aplomb.
In sharp contrast, the program’s next work was Mozart’s Concerto in C Major for Flute and Harp, K. 299, performed by flutist Monica Daniel-Barker and harpist Dan Levitan. Composed in three movements, this charming duo concerto was beautifully played, both soloists the principals with the Symphony. Typical for Mozart’s time, this concerto was composed for the salon and not for a large concert hall. Yet Daniel-Barker and Levitan successfully communicated to the capacity audience the overflowing lyricism of this expressive Mozart concerto, written in Paris when the composer was 22. The andantino slow movement was richly colored, the themes for flute sublime.
Igor Stravinsky’s Le Sacre du Printemps (The Rite of Spring), composed in 1910-12, is an extraordinary work, perhaps the most influential symphonic piece of the 20th Century. Although controversial in its 1913 Paris debut, it is as clear and logical as any music one hears today. Written in Switzerland as a ritual pagan ballet, exotic dancers from the Ballet Afsaneh in Woodacre were invited to the pre-concert lecture to explain the imagery of ancient Asiatic cultures. Stravinsky’s polytonalities, polyrhythms and uncanny knowledge of orchestration express his musical ideas with momentous force. The Exalted Sacrifice segment was positively exhilarating, and the Orchestra’s performance of dissonance for purposes of color generated impressive musical energy.
|