Shout to Heaven

The Santa Rosa Symphony has more than earned its role as the future orchestra-in-residence at the Green Music Center, now edging toward completion at Sonoma State University (see the feature article). It has made remarkable progress during the past two decades, even under the handicap of an acoustically mediocre home. Its large and loyal audience has remained true and, further, has produced major patrons, support, and leadership for the Green Center. Last Monday, Bruno Ferrandis, now into his third year as music director, conducted very tastefully a program of Haydn and Bach in the Wells Fargo Center. He captured the charm and subtlety of Haydn's Symphony No. 94, in G, the "Surprise," once past the first movement. That was disturbed by the trumpets and horns playing their repeated-note harmony parts as if this were the main attraction, hanging the music's underwear out on the line. Otherwise, the reduced orchestra of 40 or so players neatly described the exquisite design and contents that make this a treasure. The orchestra's pianist, Kymry Esainko, gave a lustrous account of Bach's Concerto No. 1 in D Minor, playing deep into the keyboard with steadiness and rhythmic integrity that sustained the line. It was a Romantic/modern performance, of course, but one that realized the essential character of the work, with the vitality firmly stated. As an encore, Esainko played an infrequently encountered Ravel piece, the Minuet on the Name of Haydn (1909), smoothly and gracefully, like a lovely watercolor. The evening's principal work was Haydn's "Lord Nelson Mass," Mass No. 11 in D Minor, with Ferrandis' performance making clear why it is the most performed of Haydn's masses: the aggressiveness of the setting. The Kyrie is more of a shout to heaven than a prayer, and at the end, the Dona Nobis Pacem repeats this posture boldly in almost a demand. The prayerful elements, Qui Tollis for example, are more drawn-out laments than appeals from a humbled worshipper. It's strong stuff that makes evident why the church banned such orchestrally accompanied masses not simply because they were "theatrical" but too independent in spirit, not submissive.

Fine, Full Chorus Sound

Structurally, in balance of tempos and continuity, expressive emphasis and feeling, the "Lord Nelson Mass" sustained its grasp, large shape, and momentum. The orchestra, again, was excellent. The large Santa Rosa Symphony Honor Choir, prepared by Robert Worth, choral director of both the Symphony and Sonoma State University, seemed to be composed of two or three choruses joined, though no description of this was offered. It made a big sound, the women true and in good tune, the men singing with rather an open, full-out sound where less and better focused would have been more grateful. In attack, diction, and conviction the singing conveyed the essence of the piece and its message. The soloists were another question, ranging from the high and quivery, coloratura sound of Jenni Samuelson delivering the soprano part brightly, and the intense and earnest delivery of Bonnie Brooks, mezzo soprano, to the unsatisfactory tenor and baritone, Scott Whitaker and Hugh Davies. They may well be local residents, or perhaps were drawn from the chorus. No information about that was given, but such a work and orchestra deserve professional soloists. It did Ferrandis no credit that he chose or accepted them. He conducts large especially for a tall, lanky man. It's inefficient and overkill for full as well as reduced orchestras, a matter of craft or as musicians would say, technique. Reducing the scale will gain him increased control and more easily draw the subtlety and nuances that his musicianship and this instrument will so readily provide. Clearly, the orchestra is responsive to him and he seems well established and received in his position.