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Symphony
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...
Recital
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...
Symphony
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
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.