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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
Mendocino Music Festival / Sunday, July 11, 2010
Paul Roberts, piano

Pianist Paul Roberts in Preston Hall July 11

ROBERTS PLAYS UNEVEN RECITAL AT MENDOCINO FESTIVAL

by Terry McNeill
Sunday, July 11, 2010

British pianist Paul Roberts played a recital in two disparate parts July 11 in Mendocino Music Festival’s piano series in Preston Hall.

Before 65 people Mr. Roberts planned the initial part around music of Ravel and Liszt, each with extensive descriptive titles. The pieces were preceded by a lengthy verbal introductions, set out in Mr. Roberts’ unique blend of historical description, philosophy, musical analysis and a sporadic dash of gossip. The pianist is a superb speaker, witty and at all times pithy and instructive. It’s refreshing to hear the English language fashioned so well. At times one wished for more piano playing and less education, but it’s a summer festival and the speaker knows the territory.

What the artist didn’t do well, at least until the intermission, is to play the piano at a high level. In Liszt’s “Au Lack Du Wallenstadt” the chosen tempo, as throughout the afternoon, was fine but the piano sound was muffled, the left hand indistinct under the simple melody. The same composer’s “Au bord d’une source” was heavily pedaled with a heavy touch and the line was broken by an extended pause. Aural memories came back to a Horowitz performance in Carnegie Hall of the same piece, awash with a shimmer of sound and delicate phrasing and half pedal. Shura Cherkassky’s rendition was also inimitable.

Ravel’s “Jeux d’eau” received a more idiomatic reading with fluid arpeggios and a “watery” cadenza. Two more Liszt works followed, the Sonetto del Petrarca No. 123 and the revised version of “Les Cloches de Genève.” Played from score, the former featured a modest tempo and even but slow trills, the melodic line imaginatively played and the final note lingering and almost inaudible. The faster parts of “Cloches” strained the pianist’s technique, the imperfect pedaling enhancing the overy loud statement of the second theme. These “bells” had neither the tenderness at the opening nor heroism in the octave passages.

Often in the first half playing above forte produced a harsh tone and a less-than-polished conception, but with Debussy everything changed. Here Mr. Roberts was in his element. He recently authored an acclaimed biography of the composer, but that’s no insurance that he can play in Debussy the layers of refined sound with unusual pedal effects at a virtuoso level. Worry not, as the Roberts conception of the French master’s music was an ideal combination of head and heart. Beginning with “L’isle joyeuse” and finishing with the iconic “Children’s Corner” Suite, all was in harmonious order. The piano tone became more richly hued, the digital command more secure. “Gradus ad Parnassum” built to a toccata conclusion, the accelerando at the end forceful but without harshness. The set unfolded in a masterly way, each of the six pieces fashioned with long study and a sure touch. I particularly liked the inner voices and accurate skips from “Jimbo’s Lullaby” and the repose and syncopated jazz harmonies of “Golliwog’s Cake-Walk.”

Two additional Debussy works were offered, the short and mysterious “Canope” and “Les collines d’Anacapri.” The latter is from the first book of Preludes (1910) and the folk like material was performed with a lively and bright palette. Debussy has a consummate interpreter in Paul Roberts.

No encore was offered.