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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
RECITAL REVIEW
Concerts Grand / Sunday, April 18, 2010
Sandro Russo, Pianist

Sandro Russo after playing

RUSSO SCORCHES NEWMAN AUDITORIUM IN SEASON FINALE RECITAL

by Terry McNeill
Sunday, April 18, 2010

Spring thunder from sunny Italy was the order of the day April 18 when Sicilian pianist Sandro Russo closed the seventh Concerts Grand season with a dramatic recital at Santa Rosa Junior College.

In an 80-minute program before a Newman Auditorium audience of 120 Mr. Russo disdained the usual opening works of Scarlatti and Mozart and launched into a powerful rendering of Liszt’s magnificent “Variations on Weinen, Klagen, Sorgen, Sagen,” based on a Bach Cantata first heard in April, 1714. The title can be translated as “Weeping, Lamenting, Worry and Apprehension” and Mr. Russo’s imposing interpretation brought out the works majesty as well as its infinite sorrow. His running left-hand octave playing was masterly and the often judicious tempos let air into the work. There was reconciliation in the chorale where grief is overcome.

If the Liszt might could be about conquering adversity, Beethoven’s F Minor Sonata (“Appassionata”) is surely about it. With memorable past Newman performances by Joseph Banowetz and the mercurial Valentina Lisitsa, Mr. Russo had a mountain to climb in a sonata the composer was said to have liked above all others. The difficult articulation problems in the opening Allegro assai were handled with ease and Mr. Russo had the requisite speed and large tone in the second subject. The short set of variations comprising the second movement were lovingly set out, the artist in no hurry to get anywhere.

Recently pianists (e. g., Schiff, Fellner, Biss) have been playing the Sonata and especially the concluding Allegro ma non troppo is an “architectural” style, emphasizing structure and inner thematic relationships over passion. Mr. Russo would have none of this, seizing the emotional drive and sweep of the movement and bringing the audience to its feet with the final fortissimo chords. The piano would have been hot to the touch as he left the stage amid cheers.

Following intermission Lowell Liebermann’s haunting Nocturne No. 8 (2004) was given, and Mr. Russo knows these pieces (there are now 11 Nocturnes) through careful study and his own premiere of the Nocturne No. 10. The eighth is haunting, the menacing quality set against short lyrical passages. Mr. Russo’s interpretation has changed since I heard him play it in 2004, now less explosive in the big crashes of sound in measures 123 and 124, emphasizing more the mysterious nature of the writing. Is anyone writing nocturne-like works with such sonic interest as Mr. Liebermann?

The formal program concluded with Schumann’s eight-movement Kreisleriana, Op. 16. It is a difficult work to hold together, with many da capo forms of various moods. Mr. Russo approached each with care, especially in the Sehr langsam where his tonal control was exquisite. The entire performance exhibited a controlled rotation and double-note legato technique, glowing cantilena in the Sehr aufgeregt with the final conception lacking perhaps only the last portion of introspection.

The ending of the Schumann caused some confusion in the hall as the program, printed eight months ago, showed it as the last work. People were preparing to leave but fortunately Mr. Russo was in a generous mood and capped the recital and season in a driving and ultimately sensational performance of Balakirev’s Oriental Fantasy “Islamey.” Considered one of the most difficult works in the standard piano repertoire, Mr. Russo’s whirlwind of repeated notes, large right-hand skips and a dollop on bombast were equal to the score’s demands. Those in the first row were a little scorched by what one listener called a “Vesuvius” of sound, but that’s what you get with a great “Islamey” performance. There was no encore offered or needed.

Sandro Russo’s recital was on balance the most virtuosic playing heard in Santa Rosa since the Bronfman, Ohlsson and Nakamatsu concerts of three years ago and was a forceful capstone to the nine-recital Concerts Grand season.

The reviewer is the producer of the Concerts Grand series.