Joseph Sekon - Peninsula Reviews
“Stewart’s direction exuded profound integrity and commitment, shaped by a deeply felt inevitability. …Maestro Mahler would certainly have agreed with Stewart’s guidance.”
“Matthew Ebisuzaki’s trumpet solo announced the start of the first movement and was impressive throughout the work.”
“Throughout the labyrinth of designations of the Scherzo, Stewart observed and wove with precision the orchestral sound of the many twists and turns as zart (tender), ruhig (calm), and even the pizzicati, as if it were a tapestry. The playful Ländler or waltz was delicately tossed between a superb solo French horn, the woodwinds, and the first violins. The unaccompanied French horn, Caitlyn Smith, performed incredibly well.”
“The famous Adagietto was impressive by the sheer control of the orchestral string players in hushed pianissimos. A sincere, direct performance and in no way lacking in effectiveness. When they delved into the lower registers, Stewart made sure they brought their all, as if they preserved their power for this moment. Maestro Stewart set the perfect limit on how slowly his orchestra could perform without distorting its character.”
“Even the slightest gradations of timbre and dynamic were observed throughout, allied to Mahler’s broad palette of orchestral color. Sixteen measures from the close of designated Noch langsamer, (even more slowly) harpist Jieyin Wu, became the major protagonist with measures of delicately performed glissandi. To heighten and emphasize Mahler’s intention Maestro Stewart directed Ms. Wu to convert the strum into a most effective, elongated F Major arpeggio accenting the top note “A”, while the first violins descended creating a magical moment not to be forgotten! The result: Maestro Stewart and his orchestra elevated this interpretation to impressive, original artistic heights!”
“The rondo-finale was well planned, starting off with gracious playfulness, and finished off with a virtuosic display from the orchestra. One of the characteristics of this group that sets it apart from neighboring orchestras, is its sharp, lean quality they get from their instruments led by Concertmaster Nigel Armstrong. It’s a sound which has become a part of the orchestra’s identity. All the splendor of the full orchestra was on display in the Finale. The polished power of the big brass chorale was something to behold.”
“The musicians performed its driving conclusion with spontaneity and thrilling precision. The Mello was filled with cheers and applause, and the audience was on their feet for the second time. A round of congratulations and appreciation by Stewart showed his charisma, satisfaction and gratitude for a wonderful musical experience. BRAVO Maestro and Orchestra!”
Santa Cruz Symphony Captivates with Mahler’s Fifth
Fleur C. Williams - Santa Cruz Sentinel
“Music is a powerful means for transformation – a fact beautifully conveyed in the Santa Cruz Symphony’s most recent production. Under the baton of the ever-dynamic Maestro Daniel Stewart, the SCS musicians were full of force and energy as they revealed the vast emotional landscape of Gustav Mahler’s Symphony No. 5.”
“Stewart and the musicians were completely in sync as they navigated these complex changes and successfully maintained the music’s underlying rhythmic pulse.”
“From the first solo (an evocative trumpet fanfare by Matthew Ebisuzaki), we became aware of how individual virtuosity plays a prominent role in balancing this massive symphony. “
“The musicians showed incredible focus and precision with the rhythmic variations and intense tones of the score and were responsive to Stewart as he conducted the music’s somber, stormy, and joyful elements. “
“As a whole, the orchestra brought great technical control and emotional insight into the tempo fluctuation and wild mood swings represented in Mahler’s work.”
“While each of the five movements kept us captivated, the performance of the famous Adagietto was especially rich. SCS string and harp musicians delivered a smooth and lyrical performance that brought us into a reflective, dreamlike state.“
“Stewart generously extended the melodies, drawing out the Adagietto’s soulful quality with the orchestra and proving that music alone can express emotional depths and nuances without the addition of words.”
“After the Adagietto, there was an audible shuffle in the audience as if the collective stirred from a contemplative trance and remembered to breathe again.”
“As we move forward in 2020, the memory of this brilliant performance will remain evergreen; a reminder that music revives us and offers cathartic relief.”