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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 itís 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 fŁr Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.Ē 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 Daneshpourís 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 Oakmontís Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIR” 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 Mirů String Quartetís sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Mirů 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 Shahamís transversal of the complete Bach Suites in Weill and Frank Almondís Oakmont recital in 2015. Muscular playing was the afternoonís 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. Brahmsí C Minor "SonatensatzĒ (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 afternoonís Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaffís Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartokís 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...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentineís Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahmsí monu...
RECITAL REVIEW
Weill Hall, Green Music Center / Saturday, September 29, 2012
Lang Lang, piano

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.