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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
RECITAL REVIEW
Mendocino Music Festival / Tuesday, July 20, 2010
Paul Hersh, viola and piano
Teresa Yu, piano

Piano Duo in Preston Hall July 20 (N. Wilson Photo)

DISCOVERY AND EDUCATION IN FESTIVAL DUO RECITAL

by Elizabeth MacDougall
Tuesday, July 20, 2010

San Francisco pianists Paul Hersh and Teresa Yu presented a Mendocino Music Festival program July 20 titled “Reflections and Variations.” Mr. Hersh is known at the Festival for his professorial introductions to a performance of Bach’s Well-Tempered Clavier (Book 1) and in 2011 he will perform Book 2 in Preston Hall.

“We are going to start with something really strange, Benjamin Britten's Lachrymae for Viola and Piano, Op. 48,” Mr. Hersh announced, and he took up the bow and viola with Ms. Yu at the piano. The work based on a song of John Dowland, born in England in 1563.

The duo led a demonstration of the original Renaissance music called “If My Complaints Could Passions Move.” He proceeded through the Theme and Variations and described the various compositional techniques. “This is a piece about innuendoes. I want everybody to have a handle on what’s going on,” Hersh stated. After a particular demonstration of music he asked “Did you get it?” and the audience laughed. He played through another passage and said “The question is ‘How much of this does stick in your ear, subliminally?’ ”

After listening to the thirty minutes of lecture and demonstration on the Britten work, written in 1950, the final twelve-minute play-through of the performance was exquisite. Each transition was well understood by the audience. The Finale of the variations was peaceful, Mr. Hersh mentioning previously that he likes “to remove all vibrato [from his viola], pretend that I’m playing a sixteenth century instrument.” It was a fetching conclusion to the first half.

Five short works from Grieg’s Lyric Pieces began the second part: Arietta, Nocturne, At Your Feet, Gone, and Remembrances. These were beautiful miniatures that Mr. Hersh introduced with comments on the compositional techniques. “All of the pieces feature going down” (intervals that sound lower). He described some of the music as “moody, dry and moody”.

Completing the concert was Schubert's “Variation on an Original Theme” in A-flat Major (Op. 35, D. 813) for piano four hands. This was a piece that Hersh admitted didn’t know before October, and expressed astonishment at the vast amount of repertoire composed by Schubert. The pianist has recorded substantial amounts of four-hand music and the discovery of the Schubert was for him a delight. He commented on one variation as being in the “key of seven-flats; people didn’t like that, as it’s hard to sight read, and in the tuning of Schubert’s day it would have sounded strange.”

The four-hand performance by Ms. Yu and Mr. Hersh was admirably synchronized and the variations unfolded with thought and elegance. Both artists had the virtuosity to bring the rarely-played duo to life, and the audience was warmly appreciative.