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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
RECITAL REVIEW

Lydia Artymiw Playing György Kurtag in Newman March 7

SHORT PIECES WITH A LONG REACH

by Terry McNeill
Sunday, March 07, 2010

It’s seldom that the high points of a piano recital are contained in repertoire that is short, dissonant, unfamiliar and mostly loud. At Lydia Artymiw’s March 7 recital for Concerts Grand in SRJC’s Newman Auditorium, the music of Kurtag and Messiaen had for this reviewer emotional impact far beyond their succinct duration and novel rhythms

Before a small audience of 63, Ms. Artymiw preceded the performance of three of Messiaen’s Vingt Regards sur l’Enfant Jésus with a cogent analysis of Regard de l’Etoile (Gaze of the Star), Regard de la Vierge (Gaze of the Virgin) and Premiere Communion de la Vierge (First Communion of the Virgin). The commentary was minus any puffery and crisply connected the composer’s beliefs as a Catholic mystic with his infatuation with bird call motifs in music. The actual playing was vivid and intense in its story telling. For some the expressive use of rubato may have distracted from the numerological aspects, especially in the Regard de la Vierge, but everywhere the angular motives and contrasting lines were played consummate clarity. Was this first performance of any major Messiaen piano work in the local area?

Hungarian composer György Kurtag began in 1973 his “Játékok (“Games”) as a counterpart to his countryman Bartok’s “Mikrokosmos,” and is still composing additions at age 84. Ms. Artymiw chose seven segments, some lasting only 20 seconds, and each was full of avant garde technical explorations and intriguing silences. In their unique way they are a delight to the ear, cleansing any resemblance to the anniversary year of Chopin and Schumann. The Helyettem kis virag (Lovely greetings to Grete Spinnrad) was particularly alluring.

But it was with Schumann that the recital ended, his Fantasiestücke, Op. 12, receiving a fanciful reading with convincing rhythmic vigor throughout. Ms. Artymiw often stretched the breaks between phrases a bit too long, but the conceptions were thoroughly planned and played with a masterful touch and tone. The opening Des Abends was a sensual night song, the In der Nacht had multiple layers of melodic beauty in one hand, and in Traumes Wirren Ms. Artymiw's right-hand rotation technique was flawless. It wasn’t Schumann for the conventional taste.

In the same vein, Mozart’s B-Flat Major Sonata, K. 333, the recital’s opening work, was performed with stylistic authority and Ms. Artymiw’s handling of the bold harmonies in the Allegro. Her right-hand passage work was pellucid, and the cadenza in the concluding Allegretto grazioso (yes, a cadenza in a piano sonata) had just the right voicing leading to its inception. Mr. Artymiw is not afraid of making Mozart muscular, and is never in a hurry to make her artistic points.

There was one encore, Mendelssohn’s Venetian Boat Song No. 2, Op. 30, No. 6. Here there was close attention paid to subtle changes in volume, and the right-hand trills in E Sharp and C Sharp positively shimmered. The final descent to the piannissimo F Sharp was played with a hint of mystery.

The reviewer is the producer of Concerts Grand, and Marin pianist Ken Iisaka contributed to the commentary.