KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
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 isn’t over until the shouting fades away. With the brand-new Weill Hall’s rear wall raised and the evening breezes flowing, the applause from the second and last encore of pianist Lang Lang’s 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 artist’s recordings of Haydn sonatas are familiar, but the three Mozart sonatas comprising the entire first half represented Mr. Lang’s first traversal of these works in public performance. Nonetheless, the characteristics of Mr. Lang’s 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 pianist’s repose and tranquil tempos were captivating, demonstrating that spiritual excitement doesn’t 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. Lang’s signature romantic mannerisms and subtle teasing of phrase endings.
Mozart’s A Minor Sonata, K. 310, dramatically closed the first half. Long rumored to be associated with the death of the composer’s 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. Lang’s control of pianissimo was superlative, and he deftly shaped trills, often with balanced crescendos. His interpretations may not have been Mozart to everyone’s 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 Chopin’s 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. Lang’s 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 didn’t 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 didn’t do in the F Minor Ballade and elsewhere was to celebrate the vocal nature, albeit a dark one, in so much of Chopin’s music. Toward the end of the Ballade, the great tenor voice and agitated inner left-hand line were sonically lost in the pianist’s 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 Chopin’s 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.