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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
RECITAL REVIEW
MasterCard Performance Series / Saturday, March 02, 2013
Anne-Sophie Mutter,violin; Lambert Orkis, piano

Violinish Anne-Sophie Mutter

LUTOSLAWSKI PARTITA THRILLING IN MUTTER'S WEILL RECITAL

by Terry McNeill
Saturday, March 02, 2013

Violinist Anne-Sophie Mutter charmed a Weill Hall audience March 2 in a recital that eschewed popular works and elicited rapt attention from the 1,300 listeners present. Forgoing the staples of the Brahms and Beethoven sonatas, or the Franck and Prokofiev, the German artist played provocative and exciting music with her pianist of long standing, Lambert Orkis.

Lutoslawskiís thorny five-movement Partita from 1984 was played in the second half and was a tour de force for the violinist with a rollicking beginning, eerie octave slides and high-pitch whines on two and three strings. Intermixed into a piece of much cacophony was Ms. Mutterís lovely touch, and though the violin part wanders, she was perfectly in sync with Mr. Orkis. Itís rare for a string player to have the same pianist for more than a few years, yet the Mutter-Orkis duo has been together since 1988. The Partita has sections of wide instrumental departure that often resolve quickly into unison playing. Both musicians were impeccable in this difficult work, which is more about sound than notes. Mr. Orkis is a superbly fluent artist who never covered his partner, and it was rare to hear a real forte chord from the piano.

Fluent and committed playing was also heard in the recitalís concluding work, Saint-SaŽns' D Minor Sonata. It was a reading full of passion and free from any hint of vulgarity or the Lutoslawskiís dissonances. The difficult bowing in the Scherzo was beautifully and crisply done (four fast up bows in a row) and the transition to the perpetuo moto finale was well handled. The playing was fast and exciting, and the sixteenth-note passages near the explosive end were well coordinated and drove inexorably to the finish.

The concert opened with Mozartís G Major Sonata, K. 379, in a romantic conception that took the repeats in the variation movement (Andante cantabile) with different dynamics and articulation. This is a hallmark of romantic era music making where repeats always have many subtle differences. At several points Ms. Mutter used a spiccato bow and sporadically played exquisite legato scales, and once after a long upward scale passage she deftly paused before the last note. A lovely effect.

In the solo piano opening to the Schubert C Major Fantasie (D. 934), Mr. Orkisí tremolo was not quite as magical as possible, but the violinistís entrance was magical enough, the beginning so quiet as to be almost inaudible. As the dynamic became louder, still in the opening passage with piano tremolo, Ms. Mutterís vibrato began to intrude. The second "movement" allegro was played in a more restrained manner than one usually hears, to good effect.

The long variations movement was at times shaky and foreshortened by the duoís decision not to take any of the repeats after the thematic statement, which has a ďwritten inĒ repeat in which the instruments alternate taking the lead. Most performances include these repeats. Hungarian touches were captured by the duo as well as some brooding drama.

One encore was offered, Ravelís "Vocalise …tude En Forme de Habanera." This gem in G Minor was seductively played by Ms. Mutter and all the more effective after the excitement of the Saint-SaŽns sonata.

Bronislaw Irving contributed to this review.