January 27, 1999

Intriguing programming, elegant performances, and a bit of humor marked the San Francisco debut of Orchestra Sonoma, conducted by Nan Washburn Friday at Old First Church. The chamber orchestra performed works by Poulenc, Brahms, and Copland, and a piece for solo double bass by Tom Johnson.

The highlight was the original nonet version (1858) of Brahms's Serenade in D, Op. 11, in which form the piece includes just four movements--Allegro molto, Adagio non troppo, Minuets I and II, and Rondo--and lasts a little less than 30 minutes. (The better-known version for full orchestra is a sprawling six-movement work--Brahms added two Scherzo movements- and lasts approximately 45 minutes.)

Washburn's interpretation was engaging and illuminating. By conducting the first two movements a bit faster than usual, she lessened the often-cited imbalance between the lengthy opening movements and shorter ending movements. The ensemble produced a warm, comfortable sound, which together with the fine acoustics of Old First Church created the impression of a much larger group. Among an ensemble of first-rate musicians, horn player Glen Swarts was noteworthy for his even tone and expressive solo playing.

The program opened with Poulenc's "Trois Mouvements Perpetuels," in the composer's own nine-instrument arrangement (1946) of his early piano work. This is a rather frothy work, yet by the added interest Washburn found in eliciting transparent textures with rich sonorous qualities when needed, and phrasing that breathed with life, the performance immediately captured the audience's attention and enthusiasm.

The second half of the program began with Tom Johnson's hilarious 1975 work, "Failing: A Very Difficult Piece for Solo String Bass," performed by the orchestra's principal bassist, Karen Zimmerman. It is difficult to say exactly why the inclusion of a solo work seemed entirely appropriate in this context. Perhaps it was that the first two pieces on the program were drawn from unfamiliar repertory. Perhaps the audience perceived it as comic relief between serious pieces, like the comic skits performed between acts of a Shakespearean play.

In this unusual piece, the bassist is required to speak nonstop about the difficulties of the piece while playing. Although by its very nature it can be hacked through while still making a reasonable impression on the listener, Zimmerman's reading was accurate, expressive, and extremely well-shaped yet funny enough to keep the audience laughing out loud through the performance. One can only say that she failed at "Failing."

The most substantive work in the second half was a classic, the original 13-instrument version of Copland's "Appalachian Spring" (1944). Washburn's conception was less dance-like than most. She emphasized tempo differences, creating a more dramatic (although probably less danceable) interpretation. Although the early allegros at first seemed too quick, they added depth to the broadly melancholic close, and thereby made good sense.

Finally, a rendition of the well-known "Hoe-Down" from Copland's second ballet, "Rodeo," clearly intended to send the audience off smiling and humming, did so with grace and wit.

(Ronald Caltabiano is a composer living in San Francisco and teaching at San Francisco State University.)

©1999 Ronald Caltabiano, all rights reserved