VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composerís era, which presents a few ch...
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results donít measure to expectations. With the Sonoma County Philharmonicís Costa Rica concert June 19, the performance exceeded any heated or tenuou...
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis
in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns.
Conductor Norman Gamboa pr...
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100.
The crowd numbers were unusually low due to a ba...
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed.
Lang Lang Anouncing Chopin Encore in Weill (Judy McNeill Photo)
LANG LANG CHRISTENS WEILL HALL WITH MUSICAL SPLENDOR
by Terry McNeill
Saturday, September 29, 2012
The show isnít over until the shouting fades away. With the brand-new Weill Hallís rear wall raised and the evening breezes flowing, the applause from the second and last encore of pianist Lang Langís Sept. 29 opening recital might have been heard all the way to Petaluma. It was that kind of concert, unique and memorable.
After more than a decade of construction delays and massive cost overruns, the centerpiece hall of the Green Music Center finally opened with the Chinese superstar kicking off a gala weekend of symphony, choral and pops events. Before 1,400 inside and an estimated 1,000 outside, the pianist delivered sonic and musical goods that were at all times exceptionally exciting but at others equally perplexing.
The artistís recordings of Haydn sonatas are familiar, but the three Mozart sonatas comprising the entire first half represented Mr. Langís first traversal of these works in public performance. Nonetheless, the characteristics of Mr. Langís Haydn were everywhere in evidence--crisp articulation, scintillating scale passages and sharp rhythmic contrasts. Graceful indeed was the Andante of the Sonata in G, K. 283, and the Presto finale with swift arpeggios and snappy accents was a delight.
More reflective Mozart appeared in the dreamy first movement of the E Flat Sonata, K. 282. Here the pianistís repose and tranquil tempos were captivating, demonstrating that spiritual excitement doesnít have to be strident. The finale was a feast of rapid crystalline scales, generating loud applause from the audience. It was a performance similar to that of Mitsuko Uchida, but with an added layer of Mr. Langís signature romantic mannerisms and subtle teasing of phrase endings.
Mozartís A Minor Sonata, K. 310, dramatically closed the first half. Long rumored to be associated with the death of the composerís mother, the A Minor is tragic throughout. Mr. Lang brought out the sad majesty in the opening Allegro Maestoso, beginning at a furious clip that never subsided until the final three chords. The single-note repetitions in the Andante Cantabile were played slower than usual, with perfectly weighed trills and a singing line in the right hand.
The artist presented a forceful case in the somber but agitated finale. The persistent rhythmic patterns and tricky leaps were accurate, and the momentum was palpable--yet the music never sounded manic. Indeed, all through the Mozart sonatas, Mr. Langís control of pianissimo was superlative, and he deftly shaped trills, often with balanced crescendos. His interpretations may not have been Mozart to everyoneís taste, but I found them effervescent and convincing.
The quartet of Chopin Ballades on the second half is a big undertaking for any pianist, each telling a story of grandeur, pathos and nobility hand in hand with formidable technical demands for the performer. Mr. Lang fearlessly launched into the popular G Minor Ballade, unfolding the narrative enticingly in each of the seven phrase statements. He played the big legato octaves brilliantly and carefully slowed their downward march. The coda was tremendous, drawing a round of bravos from the audience. The pianist clearly had the well-dressed crowd in his musical pocket at this stage of the recital.
A long and simple folk-like introduction begins the F Major Ballade, and Mr. Lang played it with restraint, jumping into the subsequent cascades of sonorities with great passion. His strong fingers carried the day in the coda. This approach continued in the popular A Flat Ballade, arguably the least difficult of the four. Here Mr. Lang was in a playful mood, underscoring an occasional bass note and stretching the rhythms in the recapitulation. His pedaling throughout produced a perfect legato. The last chords exalted.
One of Chopinís greatest creations finished the recital: the F Minor Ballade. Inside of 10 minutes of playing time the genius Polish composer presents a broad range of emotions--ardor, resignation, heroism, majesty. Mr. Langís traversal of this amazing work was at every turn exciting, but the whole was not quite equal to the sum of its parts, more so for what he didnít do than for what he did. Technically Mr. Lang nailed everything. The double-note passages were sharply etched, and he lingered just the right amount of time in the short chorale section. Just before the coda, where the sonic tension has peaked, Mr. Lang played the five pianissimo chords that quelled the fury and heightened the mystery of the stormy final bars. It was mesmerizing and drew a raucous standing ovation.
What Mr. Lang didnít do in the F Minor Ballade and elsewhere was to celebrate the vocal nature, albeit a dark one, in so much of Chopinís music. Toward the end of the Ballade, the great tenor voice and agitated inner left-hand line were sonically lost in the pianistís demonic drive to get to the five leavening chords, the hurricane of the coda and the finishing fortissimo. Nonetheless, the reading elicited a tsunami of applause and cheers extending beyond the video screens outside the hall and across the campus illuminated by a harvest moon.
Mr. Lang offered two encores, beginning with a languorous performance of Chopinís E Flat Nocturne, which although tonally splendid needed some rhythmic flexibility. The D Flat Waltz (Minute) followed, incessantly beguiling in its droll effects. The audience roared approval at the last left-hand staccato note (he didn't play the written chord) and recalled the pianist several more times to the stage.
Lang Lang is a consummate pianist who clearly revels in giving an audience an intoxicating mix of musical artistry and entertainment, a sterling combination for the Weill Hall opening concert.