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Recital
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...
Symphony
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,...
Symphony
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...
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 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...
Symphony
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...
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 Daneshpour’s 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 Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ 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 Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró 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 Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s 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. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
SYMPHONY REVIEW
Green Music Center / Saturday, January 26, 2013
Yo Yo Ma

Weill Hall

FULL MOON, FULL HOUSE

by Steve Osborn
Saturday, January 26, 2013

Under a full moon on Saturday, Jan. 26, before playing what he confidently predicted would be the first encore of the evening, cellist Yo Yo Ma paused to tell the overflow crowd at Weill Hall that they had “an unbelievable music room.” His choice of words is apt, because the magnificent space at the Green Music Center in Rohnert Park has both the grandeur of a symphony hall and the intimacy of a living room, at least from a sonic perspective. From the back of the hall, every note that Ma played throughout his two-hour recital was crystal clear, from the softest pianissimo to the mightiest triple fortes. You could close your eyes and believe he was only a few feet away, despite several dozen intervening rows of seats.

Ma and his able accompanist Kathryn Stott capitalized on this intimacy by shaping each note and phrase for maximum effect. The master cellist never seemed to play the same note twice, approaching each one as a unique entity, worthy of its own attention. This approach was nowhere more evident than in his mesmerizing rendition of Olivier Messiaen’s “Praise to the Eternity of Jesus,” in which his sustained and assured vibrato coaxed each long note into being and then let it fade away. A hush fell over the audience, which had just returned from intermission, as Ma proceeded through Messiaen’s serene but driven masterpiece.

Like many other selections in the recital, “Praise” was taken somewhat out of context so it would fit into Ma’s creative programming. The piece is actually the fifth movement of Messiaen’s eight-movement “Quartet for the End of Time.” Likewise, Manuel de Falla’s “Seven Spanish Folksongs,” which closed the first half of the show, were originally written for soprano, and the majestic Brahms sonata that concluded the evening was originally written for violin. No matter. Ma took them all and made them sound like each composer had really intended them for the cello.

As Ma hinted at the end of the show, one reason for all the transcriptions was to give the audience a whirlwind tour of the geography of classical music, beginning with the Russian Igor Stravinsky’s “Italian Suite,” followed by three pieces from South America, the seven Spanish songs, the French “Praise,” and the Austro-German sonata. For good measure, the encores were English (Elgar) and American (Gershwin).

The “Italian Suite”--which is yet another transcription, this time by the composer--got things rolling in a hurry. This collection of lively Baroque-inspired tunes is a virtuosic challenge for cellists, and even Ma had some intonation problems in some of the faster runs at the upper end of the fingerboard. These blemishes were trivial, however, compared to the immense musicality that Ma brought to the suite. The opening phrase was distinctly shaped, with a pregnant pause near the middle. Highlighting Stravinsky’s jagged rhythms, Ma moved his instrument around freely, with an almost casual grasp. The cello’s neck was often far to his left, and the body of the instrument well outside the normal range.

Pianist Stott was likewise far from her instrument. She played with outstretched arms and sat low on the bench. The positions of both players seemed to give them greater freedom, and their performance was a marvel of sudden stops and turns. The thrilling speed and intricacy of the next-to-last movement, a tarantella, was so compelling that the audience burst into indecorous applause.

After the manic energy of the opening suite, Ma calmed the atmosphere with the three pieces from South America, by Villa-Lobos (“Alma Brasileira”), Piazzolla (“Oblivion”) and Guarnieri (“Dansa Negra”). Of these the Piazzolla was the standout, allowing Ma to generate room-filling sound from his lower strings. His cello really began to sing during the piece, which culminates with an unforgettable downward glissando.

Several of the de Falla songs were instantly recognizable Spanish folk tunes, with characteristic Flamenco rhythms and passionate melodies. Each shone in its own way, but the final one, “Polo,” offered a particularly wonderful opportunity for Ma to display his relentless drive. His energy seemed barely contained, almost on the verge of explosion, yet he somehow managed to channel all of it into his fingers and hands.

Intermission brought a chance to stroll into the courtyard and bask under the full moon, which sat above the concert hall as if granting benediction. The sight was a perfect appetizer for the heavenly Messiaen that began the second half. Following that transcendent performance was not easy, but Ma slid into the subsequent Brahms sonata as if into a pair of well-worn slippers. Despite the transcription from violin to cello, everything fit perfectly. The assurance was complete, the story compelling, the sound gorgeous. Toward the end of the last movement, Ma stood up briefly, as if to gather strength for the final plunge and the encores to follow.