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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
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 composer’s era, which presents a few ch...
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.

Lutoslawski’s 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. Mutter’s lovely touch, and though the violin part wanders, she was perfectly in sync with Mr. Orkis. It’s 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 recital’s concluding work, Saint-Saëns' D Minor Sonata. It was a reading full of passion and free from any hint of vulgarity or the Lutoslawski’s 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 Mozart’s 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. Orkis’ tremolo was not quite as magical as possible, but the violinist’s 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. Mutter’s 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 duo’s decision not to take any of the repeats after the thematic statement, which has a “written in” 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, Ravel’s "Vocalise Étude 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-Saëns sonata.

Bronislaw Irving contributed to this review.