Classical Music Reviews
Every week, our professional critics attend concerts throughout the Bay Area to let you know what went well...and occasionally what didn't. Let their insights enrich your musical experiences, and feel free to share your own views!
One of the pleasures of working in the field of early music — really early music, that is, music from well outside the ordinary classical musician's realm of experience — must be the sense of having found a corner of the repertoire and built a relationship to it, minutely and intimately and genuinely from scratch. Dedicate yourself to knowing and loving Bach or Haydn or Brahms, and you are to some extent only taking a great common love a little farther than most, building on an appreciation that comes easily to many.
For 21 years, the Coro Hispano de San Francisco has been singing to accompany the Three Kings who make their annual Epiphany trip 12 nights after Christmas. Saturday's "Concierto del Dia de los Reyes," the fourth of five performances around the Bay Area, was held at St. Joseph the Worker Church in Berkeley. The program, organized and conducted by Juan Pedro Gaffney Rivera, was a feast of Hispanic music ranging from the 10th to the 20th centuries.
Contemporary composers are like presidential candidates: A few front-runners get all the attention while others languish at the margins of recognition. And then there are the two major "parties," the American and the European. How does a composer from Latin America stand a chance?
It's yet another measure of how good we, the listening public, have it in the Bay Area that while the seasons of our "major presenters" would keep a voracious concertgoer pretty happy by themselves, you could eliminate every one of them from consideration and still put together a full — nay, impossibly overfull — calendar of first-rate recitals out of the offerings of the smaller concert series.
Monday night saw the opening of the fifth season of Music at Meyer, the concert series at the lovely Martin Meyer Sanctuary
During a discussion session that followed the Berkeley Akademie’s inaugural concert on Wednesday, musicologist Joseph Kerman reflected that many of today’s performing ensembles are seeking innovative ways of presenting classical music. Kerman’s remarks encapsulated the impetus behind the Akademie, a spin-off of the Berkeley Symphony, under the artistic direction of Kent Nagano and Stuart Canin. But while the Akademie’s innovations were both myriad and admirable, I found that the ensemble fell short of achieving its stated goals.
If noble titles were given as rewards for excellence, the FOG Trio would be royalty. While "FOG" also indicates the trio's connections with San Francisco, the name is formed by the players' last names: F is for violinist Jorja Fleezanis (former San Francisco Symphony associate concertmaster), O is for world traveler/San Francisco resident pianist Garrick Ohlsson, G is for San Francisco Symphony principal cellist Michael Grebanier. W is for Wow.