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Recital
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...
Symphony
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,...
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...
RECITAL REVIEW

Oakmont's Larry Metzger with Elena Ulyanova at Recital Reception

PIANISTIC DRAMA OVERCOMES SUBTLETY IN OAKMONT RECITAL

by Terry McNeill
Thursday, June 10, 2010

Ukrainian pianist Elena Ulyanova made her Sonoma County debut June 10 in an Oakmont Concert Series recital that was conventional in repertoire but quite agitating in performance. The pieces played were nearly a reprise of her November, 2008 recital in Tiburon’s St. Hilary Church, sans the big Rachmaninoff B-Flat Sonata.

Ms. Ulyanova has a passionate musical personality and her playing in Berger Auditorium before 200 people may not have been to the taste of most piano aficionados. She continuously pushes the envelope for speed and dramatic contrast, reveling in fast scale passages and sforzandos followed by arms flying high off the keyboard. That approach worked best in Beethoven’s F Minor Sonata, Op. 57 (“Appassionata”) where the emotional and dramatic qualities can suit the music, albeit with control. In some ways the reading was similar to the “Appassionata” of Italian pianist Sandro Russo in his April 18 Newman Auditorium recital, in that passion trumped architecture. But where Russo used repose to contrast the difficult articulations problems in the opening Allegro assai Ms. Ulyanova threw caution to the winds, sacrificing clarity to momentum. The Coda was played as fast as I have ever heard it, with anticipatory pedal prior to the three big forte chords announcing the sonic carnage to the end.

The Andante con moto variations had some lovely inner voices, especially in the second “chorale” variation, and was played with considerable dispatch. In the emotional sweep of the finale, introduced by the famous 13 chords that were surprisingly played staccato, the speed bordered on being reckless. But Ms. Ulyanova never quite lost control and the grand design was compelling, the wrong top notes in the right hand at the end not detracting in the least from the drama. It was not a performance to savor, but I found things to admire in the high-pressure reading. The pianist is not averse to taking chances.

Closing the first half was Chopin’s Andante Spianato et Grand Polonaise Brillante, Op. 22. The current norm for this richly vocal work is to play the Andante fast and the Polonaise slowly, the opposite of Hofmann’s legendary recording at his 1937 Golden Jubilee concert in the old Metropolitan Opera House. Ms. Ulyanova chose the common mode, using little rubato and playing without much subtlety. The 16-measure modulatory bridge passage between the two parts was abbreviated to several chords, for an unknown reason. The Polonaise performance had a teasing quality, the scales fast but cloudy with pedal and the lovely short vocal section in the middle too rushed. The three forte left-hand E Flat accents provided pedal point and spice. In sum, it was brash and messy performance, the filigree rapid but routine.

Two Debussy Preludes from Book II, Brouillards and Ondine, began the second half, with the piano becoming increasingly out of tune in the treble. Ondine was particularly good, the restless nature of the scherzo-like changes of mood were effectively portrayed. This wasn’t Debussy with shades of color, but with rhythmic power. Ms. Ulyanova has a flair for Debussy’s complexity but the speed of each Prelude covered any introspection or languorous dalliance.

Rachmaninoff’s “Polka de WR” and the Tarantella from Liszt’s “Venezia e Napoli” concluded the program. The former, played with no interval from the Debussy, lacked charm and was roughly banged. A long ago live Horowitz performance in Carnegie Hall lingered in my mind where the Russian master had the audience hanging on every subtle phrase. The Liszt, resplendent in Ms. Ulyanova's bravura repeated notes and ferocious momentum, was one of the least interesting performances I have heard of the work in a concert hall, missing any semblance of melodic shaping and respite. Extremes of dynamics and rushed tempos don't make convincing Liszt, from any of his compositional periods.

No encore was offered by the artist.