DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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,...
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...
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...
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...
Pianist Jon Nakamatsu
SMALL HANDS, BIG HEART
by Steve Osborn
Saturday, May 07, 2011
Jon Nakamatsu has small hands but a big heart. That anatomic mismatch was abundantly evident during his appearance with the Santa Rosa Symphony on May 7, which featured a swoon-inducing rendition of Tchaikovsky’s canonic first piano concerto. From the familiar opening to the thrilling conclusion, the petite Nakamatsu held the audience in thrall, as much by his prodigious technique as his elegant phrasing.
He began lightly, playing the opening chords with little sustain and zero bombast. His persistent use of staccato drew attention to the notes rather than the pedal and signaled that his performance would focus more on delicacy than excess. His posture reflected this approach. He sat ramrod straight, without undue swaying, and his hands were always at the keyboard, only rising in the air occasionally to punctuate the ends of phrases.
As the movement progressed, Nakamatsu began to lighten up. His use of the pedal increased, and his many runs up and down the keys swelled in velocity and expressivity. By the cadenza, he had reached full stride. Here his impeccable technique shone through, with every note sounding and every phrase etched to perfection. What was most impressive, however, were his judicious pauses between lines. Even the rests were melodic.
In the background, conductor Bruno Ferrandis and the Symphony players kept pace with Nakamatsu’s brisk tempi and added many flourishes of their own. Romantic piano concertos have often been characterized as piano vs. orchestra, but such was not the case here. The players faded and came to the fore as needed, often seeming to inspire Nakamatsu to more expressive heights.
The opening movement ended with hearty applause, a neglected tradition that appears to be reviving. Opening movements of concertos are really works unto themselves, usually with virtuosic cadenzas, and there’s no reason not to applaud them. Virtually everyone in the nearly full Wells Fargo Center seemed to agree.
After the audience settled down, Nakamatsu embarked on the tender Andantino simplice of the second movement, again displaying his exquisite phrasing and musical empathy. Just when the atmosphere was at its most languorous, he launched into an amazingly fast Prestissimo, showcasing his well-oiled fingers and their astonishing ability to sustain a trill of any length with the utmost precision.
The last movement of the Tchaikovsky showcases the soloist and orchestra in turn, with many alternating passages. On each re-entry, Nakamatsu turned his engagement up a notch, at one point pausing to mop his otherwise unperturbed brow. The standing ovation at the end was immediate and unanimous. It’s hard to remember a better soloist playing with the Symphony in recent years. No one comes to this reviewer’s mind.
The Symphony itself was also in top form. The ever-changing personnel in the string sections played remarkably well, and the more familiar woodwind, brass and percussion players were uniformly excellent.
The concert began with a last-minute addition: the “Nimrod” variation from Elgar’s Enigma Variations, played to commemorate the recent deaths of two prominent local businessmen, Evert Person and Jess Jackson. This was followed in short order by Sofia Gubaidulina’s Fairytale Poem, a brief work from 1971 that displays her firm command of orchestration, but without the intense expressivity of her later works.
Gubaidiluna composed many film scores during the Soviet period, and Fairytale Poem could easily accompany a movie, although it would likely be more of a film noir than a fairytale. The emphasis is on eerie, isolated sounds, with many brief solos giving way to a jazzy section in 6/8. The texture is delicate, often sounding like chamber music, and the major emphasis is on atmosphere rather than narrative.
Like many concert-opening contemporary works, Fairytale Poem was over way too soon. Perhaps Ferrandis will see fit to program a longer work by Gubaidiluna in the future. She is an important composer, and her many compositions deserve a wider audience.
The all-Russian main program concluded in the second half with a stirring performance of Mussorgsky’s Pictures at an Exhibition. Actually, calling Pictures Russian is somewhat misleading, since it owes as much to Ravel’s decidedly French orchestration as to Mussorgsky’s original piano score. The entire piece, in fact, is a tangle of original and copy. Are we hearing Mussorgsky, Ravel or Victor Hartman, whose paintings originally inspired the work?
The answer may be all three, along with the musicians and conductor who perform, in this case bringing the pictures to life. Beginning with a strong entry from the brass section, the Symphony displayed its many talents, including some memorable tuba playing, a haunting saxophone solo, and consistently energetic percussion. Ferrandis was in full control, executing sharp cutoffs and setting brisk tempi.
Everything worked. By the final picture, “The Great Gate of Kiev,” the Symphony was in full tilt, with the cymbals crashing and everyone else playing to the max. It was a rousing finale for the Symphony’s penultimate season in the Wells Fargo Center. Thanks to a recent infusion of much-needed cash, they move to the resplendent Green Music Center in 2012.
[Reprinted by permission of San Francisco Classical Voice.]