Davies Symphony Hall, San Francisco, March 28, 2026  –  The composers, conductors, and soloists were French. The program of Claude Debussy, Camille Saint-Saens, Hector Berlioz was thrilling. The conductor, Philippe Jordan, has served as music director of the Vienna State Opera, music director of Opera National de Paris, chief conductor of Vienna Symphony and principal guest conductor at the Berlin State Opera. In 2027-2028, he will become the music director of Orchestre National de France. The titles could not be more impressive, and seeing and hearing him conduct the San Francisco Symphony, he was truly a great conductor. Some performances will be called “unforgettable.” I do not want to forget anything about this concert.

I hope to remember Jean-Yves Thibaudet playing Camille Saint-Saens’ Piano Concerto No. 5 in F major, Opus 103, Egyptian. I can see and hear the fantastic pianist. His is a physical performance. The piano itself in the Allegro animato seems to be traveling from an uplifting tune that morphs into a slow theme in minor. It resolves into a quiet, lovely coda as though the music awakens in a garden with soft colors. The second movement is an Andante that is not anything like a walk. Thibaudet performs with power in his hands, actually in his fingers. He stabs at the keys so fast, it is a wonder. Saint-Saens arranges the music so that his hands seem to have completely different roles. The left is assigned to the melody while the right plays accompaniment. The finale, Allegro molto, contains crazed dances, themes that will knock out anyone or anything, human or instrumental. This Allegro molto sails away propelled by the speed and willingness to leave gravity.

Symphonie fantastique, Opus 14, by Hector Berlioz, has imaginative experiences in the music and some of the story line is real.  In 1827, Berlioz met an Irish actress performing Shakespeare, in English, in Paris. She had leading roles; Berlioz was beyond obsessed with Harriet Smithson. They married. After a while, they separated. He wrote the Symphonie fantastique and premiered it in 1830. Franz Liszt was in the audience and wrote the piano transcription. The Symphonie was created using the background of his failure in love. His artistic ideal of love was obviously based on Harriet Smithson. and the whole story ends with the artist in hell. The first movements, Reveries, Passions, and then A Ball, could stand on their own without knowing the story. However, there is a theme that represents his love. A Ball, second movement, has harp music and a classical style shows that he admires Mozart, not copying, but does lean to the classical in this Romantic era. Things change in the third movement. It is a long movement, Scene in the Fields, that fulfills the reach to the pastoral thoughts at the same time the artist becomes anxious. He is now descending to hell. The fourth movement is “March to the Scaffold.” The public is excited by the idea of seeing blood. The last movement, “Dream of a Witches‘ Sabbath.” The instruments make mocking sounds, music that would be for the witches’ orgy. Music from the Catholic Requiem is partly about the Last Judgment of the artist. There are graveyard bells, the sounds of the wooden bows mixed with the tuba. It is terrifying and nasty in its warning music and its celebrating the witches’ dance while the artist suffers. I had heard this played once quite a long time ago (not the first time it was played in 1920) and did not like it much. This performance was over the top fantastique in expression as well as the brilliant work of the SF Symphony and conductor Philippe Jordan.

Davies Symphony Hall, March 22, San Francisco Symphony – Andres Orozco-Estrada conducted a terrific program, and a lot of the audience wanted Orozco-Estrada to stay. His conducting seemed to please the orchestra and the audience. Orozco-Estrada is excellent on the podium, and, when speaking to the audience, he was personable and even fun.

The program opened with Carl Maria Von Weber’s Overture to Euryanthe, Opus 81 (1823). Von Weber succeeded in his early career as he conducted around significant venues. He was the director in Breslau; he led the German Opera Company, in Prague; in Dresden he led the German Opera Theater. The list runs from 1804-1821. He was wanted to lead many theaters and operas. His operas lasted. Euryanthe was not a great theatrical success, but the music was very good. He chose a librettist who warned Von Weber that she was not a librettist, but he signed her on anyway. The Overture is interesting and enjoyable; it is truly fine music which is still performed. According to  James M. Keller’s program note, Act One’s has “a ghost is represented by eight muted solo violins playing in highly chromatic counterpoint.”

Mozart’s Piano Concerto No. 9 in E=flat major, K.271 (1777) The remarkable pianist Jan Lisiecki played with brilliance and sensitivity. He is close to Mozart’s music as though Jan and Wolfgang had practiced together, discussed how each one wanted a particular measure would be played by each of them. This Concerto opened the door for orchestra and soloist both playing, knowing that each one, soloist and orchestra, will come through the door. It is complex but is still music. The beginning Allegro knows that the listeners expect soloist and the orchestra together could muddle the notes if both were playing. No, they each have their own language as though in a conversation.  The Andantino travels slowly as Mozart allows an emotional, minor key, to change the weather. True sadness in the music holds back and then releases the feeling of loss. The finale rebuilds the energy. He adds a minuet and a more exciting rondo. After the sadness of the Andantino, the music now has more to express by the lovely variations. Lisiecki played magnificently.

Dvorak’s 7th Symphony in D minor, Opus 70, is definitely something different. If part of the audience for Dvorak’s work is based on the most performed, it is Dvorak’s Symphony #9 in E minor, Opus 95. “From the New World” or the “New World Symphony” wonderful though it is, they are missing so much. Dvorak composed the 7th Symphony through 1884-1885. He conducted its premier in April, 1885, in London. The English had taken to Dvorak. His Stabat Mater made him a star. He was invited to perform more of his repertoire in 1884; his 6th Symphony swept musical London off their feet. That success produced a commission for another symphony. Dvorak worked steadily to make his new direction take over. Dvorak was a devoted Christian. He did not want to take any time away from the inspiration he received. This symphony is powerful and full of emotion, perhaps anger. There seems to be no hope for the future though he searches for at least one space of peace. The first movement is an Allegro maestoso. It has mixed characteristics. The Allegro keeps a lively timing, and it is the Majesty. The maestoso‘s majesty, I am sure it comes from the heavens for this symphony. The Adagio does not wake up the happiest tunes. It seems to look inward as the spirit of the movement tries to break away. Suddenly, there is a Scherzo. We can hear the folk music and rhythm, but it still does not take over. The Finale: Allegro, brings a slightly more optimistic mood. This is a bit more major key, and yet we are still aware of possible threats. The performance of this symphony was Maestoso. SFS and Andres Orozoco took our breath away.

Davies Symphony Hall, San Francisco, February 26 — It is difficult to forget works by Beethoven and Haydn, and yet that is what could happen a day after experiencing Mozart’s Requiem. It is even more so when the San Francisco Symphony is conducted by Manfred Honeck who is the complete conductor. He is with the SFS, and they are with him. He gives the music a dramatic context. He is sensitive to the rhythm, makes the rhythm. His physical movement captures the truth that music is physical. The music in the first half of the evening is still very fine. I will bring on Beethoven and Haydn, but briefly.

Beethoven’s Coriolan Overture, Opus 62, was written for a play which was a flop. The Overture, written in 1807, is definitely worthy to be in Beethoven’s symphonic list. It contains the emotion and tragedy of the story of Coriolanus in Shakespeare’s play which followed Plutarch’s plot. Coriolan felt he was not receiving the significance he deserves. A Roman general, he joined the enemy. Ready to get revenge, his family convinces him not to do that. Instead, he commits suicide. The music is powerful and still sad. Coriolan’s inner turmoil demonstrates that a Roman general can be torn by his feelings. An army leader needs to act without puzzling which of his options will be best. And what is the best direction for him? The music is full of his anger and then gives his wife’s plea for peace. It is a huge struggle which will end in violence. The music is big, strong, and feels the loss.

Joseph Haydn’s Symphony No. 93 in D major, was written in 1791. When his patron, Prince Nicolaus Esterhazy, died, Haydn saw the event as an opportunity; he moved to Vienna. There he met Johann Peter Salomon. Being both an impresario and a musician, Salomon offered Haydn a fine income to write six new symphonies. Together in London, 1791-92, the symphonies were very well received. Salomon was the concertmaster and Haydn played harpsichord. It was all a success, and Haydn created six more London Symphonies. Symphony No. 93 is a delight. Haydn brings together music that could be a dance except for its twists and turns. In the second movement, Largo cantabile, was mild and presents  an oboe solo. The third movement is a Menuetto: Allegro. It is fast and has a hopping rhythm with timpani. The close is Presto ma non troppo. It is a Rondo going faster and giving more delight. A lively and fun Symphony.

Mozart died writing his Requiem. There have been attempts to finish the Requiem where Mozart left off. Honeck did not go there. Instead, Honeck added pieces by Mozart and prose that deepens the profound meaning and emotion of the funeral mass. He added Three Bell Strokes, a sign of a death; Gregorian Chants twice at the beginning; a reading from a letter from Mozart to his father; Mozart’s Masonic Funeral Music, K. 477; Laudate Dominum from Mozart’s Vesperae solennes de Confessore, K.339/5; another Gregorian Chant; Reading poems by Nelly Sachs: “Who Knows Where the Stars Stand,” “When in the Late Spring;” Introitus: Requiem; Kyrie; Reading from Book of Revelation 6:8-17; Sequenz: Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Lacrimosa; Gregorian Chant; Reading from Book of Revelation 21:1-7; Offertorium: Domine Jesu; Hostias; Lacrimosa ( a fragment, reprise); Ave verum corpus, K. 618 (1791); Three Bell Strokes

The Lacrimosa fragment was Mozart’s last writing. In this last moment, Conductor Honeck stopped the music. He stepped out to his left, his arm stretched out parallel to the floor, one leg was bent at the knee stretched out in a wide step from the other leg. His back was also parallel to the stage. He drew up again and repeated the reaching step. Here are comments by Honeck which are quoted in the program book.

“These readings are placed precisely at moments in the work where words and music intertwine in meaning.”

“This fragment, consisting of only eight bars, is heard earlier in the Requiem but is repeated here, creating a sense of unfinished eternity.”

“This concept intertwines Mozart’s music, historical context, and reflections on death, offering a deeply personal yet universal experience that transcends time.”

Davies Symphony Hall, San Francisco, February 19 — The first half of the concert was Beethoven’s Symphony No. 2 in D major, Opus 36, composed 1801-02. The SF Symphony played at The Top. After intermission: Symphony No. 7 in A major, Opus 92, 1811-12. Again, the SF Symphony played magnificently. Jaap Van Zweden conducted brilliantly. The two symphonies are different in so many ways, and I wanted the SFS to play them both again. I am still excited by the music. I talked with another music lover. She told me that she knows Beethoven’s music, but had not known about #2 and #7. She brushed them off. If she did not know them, they must be just extras, not being the #5 or #9. However, these symphonies are INCREDIBLE. My suggestion is if you were not able to be in Davies to hear and see the wildly wonderful, powerful performances, look for a good recording. Allow your heart and head to live with this music. SFS has a Beethoven year planned; look at the end of this review for dates.

Beethoven had written a letter to his brothers informing them that he was losing his hearing. While he was experiencing his emotions of the loss, his Second Symphony is joyful. In the first movement, Adagio molto-Allegro con brio, he introduces music with many characters. He abruptly changes into more energy in the Allegro. His letter to his brothers lets them know that Beethoven was forming a new path for his music. This is it. He does not entirely turn his back on the tradition Haydn began, but he now has his own identity. The second movement, the Larghetto, is surprising. It is full of delights. The senses love to be in this atmosphere, and the music stirs up sweetness and sometimes a musical flirtation. There are slow, thoughtful passages, but these moments choose to dance. The third movement, Scherzo: Allegro, is part of Beethoven’s new path. Rather than using the proper Minuet, Beethoven sets a Scherzo which goes faster than a minuet. It brings more character and playfulness as he creates the amazing finale. The Allegro molto takes over. He composes a very long coda. He makes the listener notice that while Beethoven does pay respect to the traditional symphony, now he has his own way of composing. He may set a moment in a form that the audience will understand, but then he writes in his new way. When the symphony ended, I said, “This was fun.” Beautiful and fun.

Symphony No. 7 is made of rhythm rather than music making rhythm. Beethoven finds dramatic rhythms that make excitement. This runs through all the movements. It makes the listeners feel the rhythm in their blood circulating in all the movements. The names of the Symphony No. 7 are something different. Poco sostenuto – Vivace; that means a little sustained, though the music is more than a little sustained. Then, it celebrates in Vivace, lively and cheerful. Allegretto, a little fast just a little less than an Allegro. Presto: very very fast. Allegro con brio: dancing going faster with lively, happy energy. Parts of this symphony were inspired by the marching soldiers. Their triumph over dictatorship was glorious and so was the ending of the symphony. Beethoven uses repetitions of music and especially the rhythms that stamp and march throughout this amazing symphony. The Finale welcomes more and more of the thrilling victories. Beethoven uses lines of an Irish folk-song, “Save Me From the Grave and Wise.” Beethoven makes offbeats jump with the hurrahs of military, folk-dancers winning the challenge.

BEETHOVEN & SAN FRANCISCO SYMPHONY:  The SFS is offering a Beethoven year. So far, SFS conducted by John Storgard, poured their energy and profound playing Symphony #5, January 24, 2026; Yefim Bronfman performed the Appassionata, in his piano recital, Feb., 8; Van Zweden led the SFS in Symphonies #2 and #7, Feb. 19-21; Mao Fujita will play Piano Sonata No.1 in the Shenson Spotlight Series; Feb. 26-27&March 1, SFS conducted by Honeck, presents the Coriolan Overture; in June18, 20-21, SFS, Gaffigan conducts, singers, the SF Chorus, Symphony #9. BE THERE!

January 29, 2026 — Davies Symphony Hall, San Francisco, The audience heard the San Francisco Symphony demonstrate its abilities to play outstanding creations that are wildly different from each other. First was Mozart’s Piano Concerto No. 25 in C major, K. 503, 1786. Next was Symphony No.7 in E major, by Anton Bruckner, 1881-83.

Emanuel Ax, pianist

Wolfgang Amadeus Mozart was a brilliant pianist as well as a composer. Emanuel Ax was the pianist. He is superb, smart, plays with understanding as though he was playing for and with Mozart. Scott Foglesong wrote that Mozart was the first of the great composer-pianists. Mozart created an unbelievable amount of world shaking compositions in the years 1786-87. That means he wrote the operas The Marriage of Figaro and Don Giovanni; Symphony No. 38, Prague; Eine Kleine Nachtmuzik, and many quintets, sonatas, quartets and still more. Three piano concertos hover over the highest accomplishments of piano concertos. They include the Concerto No. 23 in A major, Concerto No. 24 in C minor, and this one, No. 25 in C major, perhaps the most amazing of all. The music of No. 25 is beyond the words available to describe this work. It is exquisite. The music is delicate, often shows Mozart’s humor, and seems to recognize the characterizations of the notes. Although there are unusual, disparate styles of piano, the music is never too much. He creates exactly what his concerto wants. It reminded me of my piano teacher when I was very young. He told me that the music by Bach was a conversation between the different notes. Throughout this wonderful Concerto, I heard the music make observations of itself, sometimes they were laughing. The magnificent pianist, Emanuel Ax, was absolutely right in his playing for us and for Mozart.

Emanuel Ax and Jaap van Zweden, conductor

Anton Bruckner’s Symphony No. 7 in E major is a symphony that reaches to the broadest art for the world. The music is inclusive of all. Bruckner grew up in a rural, small, Austrian place not at all close to Vienna in urban culture. His father led him to music and was educated at monastery, Sankt Florian. There he learned the organ, then played it in Linz, and learned music from Simon Sechter, a famous music theorist, through correspondence. It would be the kind of online classes one might have now. Bruckner stepped into teaching Sechter’s classes when Sechter passed away. Teaching at the Vienna Conservatory was challenging to someone from the hinter lands of Austria. And yet, he had great talent and worked on his list of enormous symphonies that won positive attention in Austria and even in the US. The 7th Symphony was produced in Chicago, in 1886. The music involves the listeners immediately. It grabs the whole of the world with passion. The music has dignity and importance. As styles changed, especially because of Beethoven’s symphonies, scherzo took over from the previous style of minuets. The scherzo in the Bruckner #7 was faster and harsher, though it becomes more lyrical. Bruckner was impressed by Wagner, but to my ears, it is Bruckner who hit the homers.

Jaap van Zweden, conductor

Jaap Van Zweden took charge of both programs despite their vast differences. He linked with the SF Symphony musicians and brought about a surprising evening of great and interesting music.

Photos by Brandon Patoc are from courtesy of the San Francisco Symphony.

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

January 24, 2026 — If you do not have a ticket, get it. Tonight’s the last chance. If you think “been there, done that,” get the ticket now. Maybe there are many conductors who conduct this Symphony; maybe they have their own way to do it. Come to Davies Symphony Hall. Hear it now. Conducted by John Storgards leading the San Francisco Symphony, each piece on the program was performed marvelously. Get that ticket.

Ludwig van Beethoven, composer (1770 – 1827)

In the minutes before the Symphony No. 5 in C minor, Opus 67, began I felt jumpy, excited, anxious. When the first four notes played into my heart, I was captured by the music. What will happen? The rhythm beats the listener’s pulse. Allegro con brio, it opens each measure and finds that same music changed just a little, but it is always there. The first movement closes with the music building power and mystery. The second movement, Andante con moto,  expands lyrically. Its music has decided to take deep breaths, gather its force, and, with the brass instruments moving in, the music is less insistent. However, that opening rhythm returns. The third movement, Allegro–, brings low strings and surprising horns, still in the C minor chord. The Symphony turns on its Scherzo and reaches the fourth movement, Allegro, gliding, fighting, climbing up a rocky hill. It is a struggle; the music will slide down and crawl back up. There is grave danger to get to the top and be able to stay there. In the third movement, I felt the tears. My heart wanted the triumph. It came battling, out of breath, but the music can breathe and stand surveying where it came from and where it can live.

For another interpretation of the 5th, look at this reviewer’s writing on Michael Tilson Thomas’s presentation in June, 2015. https://www.livelyfoundation.org/wordpress/?p=786

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

The US premiere by composer Outi Tarkiainen had delicacy and power. The Rapids of Life is the title of her musical expression of giving birth. Ms Tarkiainen’s has previously performed her work with the SFS. This music uses many different instruments, a few are flutes, oboes, clarinets, and other “normal” symphonic instruments plus cymbal, gong, tam-tam, egg shakers, ratchet, glockenspiel, bowed vibraphone, and more. The composer was quoted, “the rapids of life I had to shoot – as a precipice over which I was pushed; and in the process I realized how little I knew about the strength of the human body.”

The San Francisco Symphony, with John Storgårds, Conductor, perform Outi Tarkiainen’s “The Rapids of Life,” (U.S. Premiere), Shostakovich’s “Piano Concerto No. 1” with Seong-Jin Cho, Piano, and Mark Inouye, Trumpet, and Beethoven’s “Symphony No. 5.” At Davies Symphony Hall on Thursday night, January 22, 2026.

Dmitri Shostakovich, composer (1906 – 1975)

Piano Concerto No. 1 in C minor, Opus 35 is something entirely new if one mostly knows his music through his Symphonies. As a young guy he played at clubs, accompanied silent movies, and composed for revues. I have a teapot that plays “Tea For Two,” with Shostakovich playing the tune. He wanted to write a trumpet concerto but gave up the project which he said, maybe, that working with a trumpet was too hard. This concerto for piano still gives the trumpet a starring, comic role. As his own work in the symphonies is greatly inventive, in this concerto he quotes music from his own early work and Rossini’s William Tell; Al Jolson’s “California, Here I Come; an English folk song “Poor Mary;” Haydn’s Piano Sonata No.50; and Beethoven’s “Rage Over a Lost Penny;” and more. Despite the many quotations, Shostakovich uses them to fit the artful work he has done. Some of the work seems to be comic but only on a highly satirical – but not sour or critical – level. I love Shostakovich in so many ways, and this piece is totally original and interesting in hearing his universal understanding of music. One wishes Stalin could have let him alone; we would have both serious and lightly funny. This one wishes there had not been that era at all. Maybe I could find a teapot with him playing Piano Concerto No. 1.

The encore was by Bernstein’s “Rondo for Lifey.”

Photos by Stefan Cohen, by courtesy of San Francisco Symphony.

November 21, 2015 – Davies Symphony Hall, San Francisco – San Francisco Symphony members performed beautifully in an extraordinary, musical adventure. Alexi Kenney played violin and served as leader for the group. This was a Baroque presentation: all the musicians stood while playing; that is all except the harpsichordist. The music was equally very old, ca. 1664 and early 18th century; and very new. The Baroque sound is different than Classical and Romantic. We have lost touch from the 18thc. Early 18thc. humans walking around with music in their heads had delightful music to hear. Mr. Kenney played brilliantly. His great energy and devotion to the music spread to the other musicians as well as the audience.

Olli Mustonen, composer ( born 1967)

The opening piece was the only one composed in 2000. Nonetto II for Strings, by Finnish composer Olli Mustonen, has traces of Baroque music while it is still modern. It is a wonderful, appealing piece which can draw the listener’s warm attention. It was fifteen minutes long, and I would have happily let it go on. I referred to the program to be sure it has no Baroque ancestry. It is all modern with the Baroque musicians sending an occasional telegram for their part in Mustonen’s innovations.

Barbara Strozzi, composer, singer (1619 – 1677)

A very brief piece, “Che si puo fare,” Opus 8, no. 6., by Barbara Strozzi, about 5 minutes, was arranged by Alexi Kenney. Barbara Strozzi was a popular composer and singer. Anything about her that is known for sure is unusual in mid-17thc. An Italian woman in Venice, publishing her own compositions, and published eight volumes of vocal music. These songs were secular, not for the church. According to the program note, “she may have been the most published composer within her genre in Venice.” She died young, 58; it took 300 years before she was rediscovered. Its brevity made it difficult to get into it, but it has the same Baroque, tangy sound that seems so new to jaded twenty-first century listeners. A paraphrase of Ms Strozzi song:

“What can I do? The stars have no pity. If the gods won’t grant me peace, what can I do?/ What can I say? The heavens keep sending me disaster…What can I say?”  If Ms Strozzi had read Sappho, they could sing a duet.

Johann Sebastian Bach, composer (1685 -1750)

Bach wanted to move in order to get a better job. He wrote the Brandenburg concertos to tempt Margrave Christian Ludwig of Brandenburg-Schwedt to bring Bach to his employment. It did not work. Instead, Bach moved to Leipzig in 1723. Bach’s concertos disappeared until 1849. The Brandenburg Concerto No. 5 in D major, BWV 1050 was a new kind of concerto. This one has violin, flute, and harpsichord soloists. It was a careful mix of the old style of concerto grosso and the new concerto with more solos. This was a great, tuneful, rhythmic Bach. The musicians were all excellent. I wished the harpsichord could be heard better while playing with the strings. Not the harpsichordist fault; when he played solo one could hear very well. Possibly, the instrument would be better heard in a smaller venue. When I was a kid, friends wanted to play pop music in their piano classes, I wanted more Bach. Still do.

Antonio Vivaldi, composer, violinist (1678 – 1741)

The Four Seasons, Opus 8, nos. 1-4, by Antonio Vivaldi, has become favorite “classical” music. Vivaldi worked at the Ospedale della Pieta in addition to being the “master of music in Italy.” The Ospedale della Pieta was a home and music school for female orphans and illegitimate daughters of wealthy nobles. It interests me that some of the music was written by Vivaldi years before he wrote The Four Seasons. Then, he composed new additions some of which were more complex. One of his major, new approaches was to write poetry and music all together in pictures of the seasons. Spring paints a picture of buds opening, singing birds returning, sudden storms come and then bring quiet. In the middle of the 20thc., The Four Seasons began to be popular again. Perhaps now, its loveliness can come back in our not so lovely era.

November 16 – Gunn Theater, Palace of the Legion of Honor

The trio of Brarantschik, violin; Wyrick, cello; Nel, piano presented a breathtaking concert of Beethoven trios. The musicians selected three magnificent trios. These artists master the intertwining collaborations of each instrument. It leaves the audience to wonder how they do it and how lucky they, the audience, are to be there.

Alexander Barantschik, violin, San Francisco Symphony’s Concertmaster. Previously he was concertmaster of the Bamberg Symphony Orchestra, London Symphony Orchestra, and Netherlands Radio Philharmonic. He performs as soloist and chamber musician. As concertmaster of the London Symphony, he toured Europe, Japan, and the US.

The program began with Beethoven’s Piano Trio in E-flat major, Opus 1, no.1,1795. The title including “Opus 1, no.1” shows that he felt he was at the true beginning of his career. He had created other compositions and presented them in private performances, but this Trio was to be published and performed with different expectations. It is a mature piece. He plays with his ideas and technical construction of the interaction of the the three instruments. The Allegro sounded light and active as he allows dashing music while he adds brief ornaments. In the Adagio, we hear singing in the piano’s solo. Violin and cello carefully join in a quieter, even solemn mood, but that does not last. The Scherzo: Allegro assai has suggestions. The music plays hide and seek as it changes, stops, returns. The Finale: Presto lets us hear the intensity of Beethoven’s desires as the piano has a quizzical position that receives the answers from violin and cello. He takes note of the first movement, and all three combine in a Beethoven upright and quick end.

Anton Nel, piano, is a recitalist, concerto soloist, chamber musician, and teacher. He has appeared internationally at Wigmore Hall, the Concertgebouw, Suntory Hall, and major venues in China, Korea, and South Africa. He has the Lozano Long Endowed Chair at the University of Texas, Austin, and teaches at the Aspen and Ravinia Festivals.

Variations in G major on “Ich bin der Schneider Kakadu,” Opus 121a, 1794-1804=3? (rev. 1816). This piece has many variations, moods, and possibly a humorous point of view under the serious technique. The inspiration came to Beethoven through the song “Ich bin der Schneider Kakadu.” That means “I am the Tailor Kakadu.” The composer was Wenzil Muller, a composer of light songs for his singspiel. It could be an ancestor of musical comedy. The dates above show that there are many questions about when Beethoven wrote this work of ten variations. It could have popped into his mind very soon after he first heard it or maybe he remembered it years later, but it is the variations that make this piece. With thanks to James M. Keller, program annotator, “contrapuntal possibilities (as in the canons of Variations V and VII) deconstructing the theme (Variation VI), subjecting it to syncopation(Variation X).” There are more. Beethoven came upon more ideas  which were put in the Allegretto coda as he tried to sell it in 1816.

Peter Wyrick, cello, was a member of the San Francisco Symphony 1986-’89. He returned to SFS as Associate Principal Cello, 1999-2013, retiring in 2024. Previously, he was Principal cello of the Mostly Mozart Orchestra and associate Principal cello of the New York City Opera. He been soloist with SFS in C.P.E. Bach’s Cello Concerto in A, Bernstein’s Meditation No.1 from Mass, music of Tan Dun’s Crouching Tiger, Hidden Dragon.

Piano Trio in B-flat major, Opus 97, Archduke marks a painful change in Beethoven’s work. This piece, composed in 1811, was the last time he would perform. His hearing had gone too far. The piece was not performed until 1814. It was too late. The Archduke in the title was Archduke Rudolf who was younger brother of Emperor Francis I. Beethoven taught piano to the Archduke; they were as close as they could be, given Beethoven’s non-royal background.  This Piano Trio has presence just as a royal Trio should be. The cello leads the melodic first movement, Allegro moderato. The strings have a wonderful, pizzicato Scherzo time, delightful, almost strange, but completely together. The Andante cantabile, slow and touching, adds four variations. This movement has warmth that reaches out to keep the spirit around us. The music takes us back to Allegro moderato, though it calls all to a sharp, fast, rondo finale.

Benjamin Pesetsky quoted Louis Spohr, violinist and composer, who remembered how Beethoven “pounded on the keys until the strings jangled, and in piano he played so softly that whole groups of tones were omitted…I felt moved with the deepest sorrow at so hard a fate.”

Davies Symphony Hall, San Francisco, June 8, 2025   Sibelius and Salonen made a great combination. Esa-Pekka Salonen conducted Jean Sibelius’ Symphony No. 7 in C Major, Opus 105. It was Sibelius’ last symphony; he lived until 1957, but no longer composed symphonies. He had said what he wanted to say. Except one more great tone poem, Tapiola, he stopped. He had done it. The 7th Symphony is a strange and powerful voice. After listening to it, what came to my mind was love. Love in the broadest, most extensive, personal and universal reality added up to that. It was a unified love of which we are a part.

Jean Sibelius, composer (1865 – 1957) born and lived in Finland

Some time ago, Michael Steinberg, the glorious author of program notes, told me that Sibelius’ No. 7 was the great symphony of the 20th century, even though it was composed in 1924, very early for a century of music. This performance was my first time hearing it. When the music ended and the applause for the orchestra, the conductor, and especially the composer, I wanted them to play it all again. It is not an overwhelming, knock you out symphony. It opens with a quiet drum. Its music seems down to earth at the same time it is mysterious. Perhaps the mystery wraps around the down-to-earth part. Sibelius made plans for his final three symphonies beginning in spring of 1918. These symphonies form and continual thought through each one and all. That means that the 5th Symphony began this thought and breath that relates all three. In 1918, he wrote: “The Seventh Symphony. Joy of life, and vitalite with appassionata passages. In three movements-the last a ‘Hellenic Rondo.'” Quoting M. Steinberg, “intensely, frighteningly appassionata  music, though not in any sense wild….a musical gesture that should leave a witness bereft of speech and to which one responds with concert-hall applause only in order not to explode.”  At the end of the performance of the 7th, that was truly how I felt. Ka-boom!

Although he had planned on 3 movements, this symphony was one movement with different tempi changing without the listener noticing the change until after it happens. The time of the symphony constructs and moves on; Sibelius writes through and about Time. It surrounds us and it is us. That mystery we heard at the beginning became an all covering, all happening effect of our world. The beauty of this symphony is frightening and it is us. The love is bigger than one notices from moment to moment, here, down-to-earth, in sight and sound and time. Yes, please play it again.

Richard Strauss, composer (1864 – 1949) Germany/West Germany

New ways to compose came from early 19th century by Schubert, Liszt, and into the 20th with Richard Strauss. Strauss’ symphonic poems were in that tradition. He may have been inspired by Sibelius’ works. The concert opened with Strauss’ Don Juan, Opus 20; it was composed in 1888-1889. The music is not at all shy about hearing the adventures and disasters of Don Juan in the symphonic poem. Then, continuing the symphonic poem tradition, the program ended with Strauss’ Till Eulenspiegel’s Merry Pranks, Opus 28. I have a memory of this music from 5th grade. The “music lady” came to Maryland Elementary School and played Till Eulenspiegel and later The Moldau, by Bedrich Smetana. She told the class the story of Till the naughty things he did and then the end when he is hanged. It is hard to like this story though the music is very vivid. She wanted us to see the story in the music; I did not want to see that. However, I have always loved The Moldau.

The orchestra played with power and grace. It was their Music Director’s second to last concert. He will lead the SF Symphony and the SF Symphony Chorus, Thursday through Saturday, this week playing Mahler Symphony No. 2. I felt fresh energy from the musicians, and I felt that Maestro Salonen was more relaxed in his directing but also in his own physical movements. The music was simultaneously in his own body as he conducted his orchestra. It is hard to say “good bye” to the Music Director. He made his mark in such a short time, 5 years, and much of that time was taken up with the pandemic. His performances have been memorable, and these recent programs, The Firebird and Sibelius’ Symphony No. 7 will stay in my mind played his way.

Third Coast Percussion plays Stanford’s Bing Concert Hall, May 7, 2025

Witnessing the Third Coast Percussion’s performance was a delight. The four musician-magicians, Sean Connors, Robert Dillon, Peter Martin, David Skidmore, play at a very high level. They demonstrate the serious art that they enjoy in collaboration with other artists. The Bing Concert audience was thrilled with creations by four composers and guest violin artist, Jessie Montgomery, who was also one of the composers.

The program opened with Please Be Still, by Jlin (2024). Third Coast Percussion commissioned the work to celebrate their 20^th anniversary. It was a good way to get a listener’s head into the world of rhythm. The musicians each, mostly, addressed different percussion instruments. They would walk around the collection of Things that make sounds out of soft bumps or sliding strokes and choose the marimba, look at it, and after a few nods or gestures in air by drum sticks (with large, soft looking heads) enter the particular rhythms’ realm. Composer Jlin reveals her inspiration for Please Be Still:

“When they asked me to compose a piece that was Bach-based I, of course, jumped right to it. The Bach piece I chose to derive from is “Kyrie Eleison,” the movement from Bach’s “Mass in B Minor.” That piece has so many rhythmic sections with endless possibilities. I’ve been a lover of Bach’s music since I was a kid, and always found his work complicated. The percussionist in me hears Bach’s keystrokes as if they were individual acoustic drums. I’m always trying to play against the rhythm, and this piece was not different.”

Musicians of TCP with Jessie Montgomery; the Third Coast is Chicago, of course.

Jessie Montgomery’s work, Lady Justice/Black Justice/The Song (2024) was powerful.The work does not hide what it expresses. A statue of “Lady Justice,” by Ori G. Carino inspired the composer; the Lady is a fount of Justice in a world of injustice, specifically toward Black people. The statue and a painting had been in a room with light cast through its layering of silk. As the composer wrote: “the silk layering, revealing her timelessness and multiple hues. The image is staggering, aspirational, and technically virtuosic.” Montgomery found deep feelings which met visual representations and turned that reality into music. It is a successful work of artistic alchemy. She salutes “Ori’s natural sense of beauty and grit,” which led her into ideas that spun textures, light, and “emotional qualities” into this major work. Collaboration can happen when the collaborator is not available for meetings. “The main melody that appears throughout (which harkens to a Brahms-inspired theme that I wrote years ago, inspired by a line in Langston Hughes’ epic poem, “Ask Your Mama: 12 Moods for Jazz.”)

I was pleased to experience this new music. When I began to dance and choreograph full time, rhythm was taboo. Anything Brahms was simply dead. I had read Langston Hughes in 8^th grade and loved every line. A lot of people who could read, did not read or know about Hughes. I went ahead with rhythms because how else could I dance?

Tigran Hamasyan’s Sonata for Percussion (2024) is in sonata form of three movements. It could be fast, slow, fast, but those fast times are not identical. TCP found the piece required techniques not in their vocabulary. Hamasyan’s band plays exciting and challenging rhythms. It took TCP on a wild hike in hills, turning while moving forward. “The outer movements both explore different subdivisions of 23-beat rhythmic cycles, while the middle movement is in a (relatively) tame seven.” The movements have meaningful titles although there is no story: Memories from Childhood, Hymn, 23 for TCP.

Jessie Montgomery’s Suite from In Color has history. When working with TCP for her first foray in a percussion ensemble, she brought “excerpts from a number of existing works.” In Color was one of them. She used this exploration to develop musical sounds. The work she did make was different than what the original explorations would have made. Sean Connors, of the TCP, asked to arrange what they had been doing and made it a percussion quartet. It has a unique approach for the items making the sounds into “Red, The Poet, Purple” movements.

The program ended with Lou Harrison’s Concerto for Violin and Percussion Orchestra (1940/1959). The program says “Lou Harrison holds a particularly special place in the heart of percussionists.” Harrison and John Cage were among the earliest composers of classical style to write for percussion ensembles. Harrison also holds a special place in the SF Bay Area music world. He was a warm and welcoming human. While Cage avoided harmony or melody, Lou made Things and instruments sing when he tapped, knocked, or even slapped them. He made non-pitched items musical and helped Things get along with other instruments. In this performance the audience was able to see a full range of percussion music. Physical movement of the percussionists added theater to the program. Flower pots and other objects joined the orchestra. Harrison’s movement for the solo violin allowed us to hear the full range of Montgomery as violinist as well as composer. The audience jumped to applaud TCP and Montgomery.

Photo courtesy of Stanford Live. Quotations from composers courtesy of Stanford Live program book.