DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
STIRRED, NOT SHAKEN
by Steve Osborn
Friday, January 08, 2010
In a 1778 letter to his father, Mozart observed, “It is far easier to play a thing quickly than slowly.” The truth of Mozart’s observation has been borne out repeatedly in the intervening centuries, as virtuosos of all stripes have sought to dazzle their audiences with high-speed prestidigitation, often at the expense of musical beauty.
Not so with cellist Steven Isserlis and pianist Kirill Gerstein, who bewitched a capacity crowd at Santa Rosa’s Newman Auditorium Jan. 8 with a recital dominated by slow playing of maximum expressiveness. To be sure, the two of them often made their fingers fly through the air with the greatest of ease, but what sticks in the mind are their languid strolls through the musical landscape, with repeated stops to smell the roses.
The concert was much anticipated in Santa Rosa, where the memory of Isserlis still lingers several decades after his first concerts here, near the beginning of his storied career. “I have to report a rather ghastly fact,” he told the audience during one of his witty introductions. “The first time I played in Santa Rosa, Kirill had not yet been born.”
Now 51, Isserlis still sports a mop of curly shoulder-length hair that he flings to and fro with reckless abandon. In contrast, the 30-year-old Gerstein is crew cut, and his movements on the piano bench are relatively confined.
This clash of styles and appearance was on full display in the opening piece, the Cello Sonata in C by Benjamin Britten. Protectively enfolding his Stradivarius, Isserlis alternately gazed up in the air to his left or glanced at a score on his right, often flinging his mane while in transit. Meanwhile, his left foot floated up and down, following the center of gravity.
The sound that emerged from all this rocking and swaying was of the utmost delicacy, rendered ever so much more so by Isserlis’s use of gut strings. Instead of the jagged edges of their modern, metallic counterparts, which often make cellos sound like a swarm of bees, gut strings produce a rounded, soothing tone, more akin to a purring cat.
Gerstein contributed to the delicacy by barely grazing the keys of the piano and keeping himself firmly in the background. The net effect of all this quietude was a heightened concentration from the audience, which listened to the two musicians in rapt silence.
The Britten — which most of the audience had probably never heard — proved to be a captivating sonata that makes full use of the cello’s sonic possibilities. There were plenty of ringing pizzicatos, slithering glissandos and spiccato bowings. The real standout, however, was the central movement, marked “Elegia: Lento,” where Isserlis milked each note to its full potential. The tone on his low C string was absolutely gorgeous.
A slow third movement, an Intermezzo, was also the highlight of the next piece, Isserlis’ own transcription of a neglected Schumann violin sonata. The sonata has a long and curious history, well told by Isserlis in the program notes. Suffice to say that the transcription sounds great on a cello, provided it’s played by someone who’s able to traverse the cello’s long fingerboard as if it were a violin’s.
Isserlis proved fully capable of playing his cello like a violin, but all the virtuosic display was mere prelude to the heart-wrenching third movement, which Isserlis sang to perfection. All the musical elements of Schumann’s greatest songs were here, except for the lyrics, which would have been superfluous in any event.
Gerstein was primarily in the shadows during both the Britten and Schumann sonatas, but the Rachmaninoff sonata, which occupied the second half, was a different story. Rather than “cello sonata,” the work might be more accurately termed “concerto for piano with one-person cello orchestra.” Or better yet, “Russian novel for two players.”
One could never accuse Rachmaninoff of brevity, and this sonata, with its meandering rivers of sound, can overmaster all but the most cogent performers. Fortunately, both Isserlis and Gerstein proved up to the task, imparting a rhythmic force and narrative drive that sustained the work from its opening cascades of notes to its majestic ending some forty minutes later.
Gerstein, who just won the coveted $300,000 Gilmore Artist Award, proved particularly adept at dynamics, leading off the sonata with a stunning decrescendo that moved from fortissimo to pianissimo in the flicker of an eyelash. Isserlis was great throughout, but once again his most memorable playing occurred in the slow third movement, where he savored the quality of each note, bright glimmers of warmth in a stark Russian landscape.
The instantaneous standing ovation produced but one encore: Fauré’s “Sicilienne,” a suitably languid piece that calmed the audience. When it was over, Isserlis held his cello upside down to prove that he had poured every last note out of it, at least for this memorable concert.