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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
RECITAL REVIEW

Pianist Garrick Ohlsson In Napa Recital Dec. 16

OHLSSON TRIUMPHANT IN NAPA BEETHOVEN BIRTHDAY SONATA RECITAL

by Terry McNeill
Thursday, December 16, 2010

Virtuoso pianist Garrick Ohlsson is clearly at the top of his game, the latest evidence being a blockbuster Beethoven Sonata recital Dec. 16 in Napa’s United Methodist Church.

Celebrating the Bonn’s master’s 240th birthday and coming off a project recording all 32 Sonatas, Mr. Ohlsson met a jammed Chamber Music in Napa Valley audience with a balanced program featuring the familiar, not so familiar and rarely played. Many in the audience of 300 have heard the artist numerous times in the series, produced by wine moguls John and Maggie Kongsgaard, and greeted his entrance to the acoustically dead hall for the D Minor Sonata, Op. 31, No. 2 (Tempest), with loud applause.

The opening Allegro is storm and stress, and Mr. Ohlsson quickly disclosed a recital-long interest in instrumental color and contrast. He used the shift pedal a lot, getting hazy tints in the two recitatives and handling the tricky two-note slurs with ease. There was strong thematic projection in the Adagio and long sustained tones in the treble, carefully pedaled. In the agitated finale, the artist underscored its softly wistful nature, and the playing of the persistent four-note motive was never mechanical. The play of the registers with no ritards to the final pianissimo left-hand was masterful.

Before intermission the seldom programmed E Flat Sonata, Op., 27, No. 1, was for me the highlight of the recital. It’s not popular with audiences, and the four-movement work in unsympathetic hands can seem dense. Here the pianist set out the simple opening with firm rhythmic control, the last two chords haunting and leading subtly attaca subito to the Adagio. The pianist several times gave a little extra duration to the fermatas, adding to the expectation of the concluding rondo, interrupted near the end to reintroduce the melody of the slow introduction. Mr. Ohlsson made a strong case for the lyric building blocks of the piece, some parts sounding fugal but always in judicious balance. Obviously he has given this work countless hours of study in the studio.

From 1809, the F Sharp Sonata (Op. 78) opened the second half with unaffected directness, Mr. Ohlsson’s exact chordal weighting a delight to hear. His technique cannot abide phrases without sonorous chords and precisely equal inflection in both hands. The usual graceful caprice of Allegro Vivace was played here almost raucously, the left hand crossing to trenchant treble accents.

In recent years an approach to the concluding F Minor Sonata, Op. 57 (Appassionata) has arisen that stresses the great work’s architectural design and interlocking segments over the conventional dramatic qualities. Readings by Till Fellner and Andras Schiff come to mind. Earlier this season Sandro Russo on the Concerts Grand series would have none of this, grabbing for the emotional nucleus, and Mr. Ohlsson’s performance followed suit, taking no prisoners. The quiet opening turned volcanic with the evening’s first really big forte sound, the potent F Minor key resounding to the last row in the lovely church. There were a few surprising inner voices in the first movement, surprising in that the Appassionata isn’t a piece for wayward experiments in interpretative individuality. It’s a work that the artist exploited with a lovely detaché touch and finger staccato in the short variation movement, Beethoven’s chaste melody uppermost. Mr. Ohlsson always emphasizes the essentials in his conceptions, leaving the inessentials to subsidiary lines and occasional appearances.

A ferocious arpeggiated chord, carried with the pedal from the previous measure, announced the 13 titanic chords that launched the tremendous sweep of the Allegro ma non troppo. There was never any pounding, regardless of the tsunami of sound the pianist wrung from the instrument. But the contrasts in low-volume playing were also never absent, the four right-hand chords over the midpoint pedal point c a telling break to the music’s grandeur. The last section in Presto was compelling, the artist never losing control and never giving a thought to underplaying the excitement.

Of course a thunderous standing ovation followed, and there was palpable curiosity on what encore(s) might be offered. A late Beethoven Bagatelle? The frisky “Rage Over A Lost Penny”? Mr. Ohlsson’s patrician side then emerged when he played a nuanced middle movement (Andante cantabile) from the Pathétique Sonata in C Minor. Here his rock-solid rhythmic sense never left him, nor in the following “Revolutionary” Study of Chopin, Op. 10, No. 12.

In this year of Chopin’s 200th birth, Garrick Ohlsson has been playing mostly the Pole’s immortal music, but if one asked the Napa audience Thursday night, the verdict would be to have this formidable pianist, at an exalted stage of his youthful career, to program Beethoven Sonatas forever.