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Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
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 ...
Recital
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...
Symphony
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...
Recital
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...
Recital
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...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, March 07, 2013
Michael Tilson Thomas, conductor. Yuja Wang, piano

Pianist Yuja Wang

THE MAJESTIC INEVITABLE

by Steve Osborn
Thursday, March 07, 2013

The Beethoven Piano Concerto No. 4 is famous for beginning with a piano solo rather than the usual orchestral introduction. To use a literary term, it begins "in media res"--in the middle of things.

My experience of the San Francisco Symphony concert at the Green Music Center on March 7 likewise began "in media res," thanks to its poorly designed parking lot and the long line of people waiting to get in. The upshot was that I missed about half the opening work: "Drift and Providence," by the 26-year old American composer Samuel Adams, son of the famous minimalist composer John Adams.

Someday the Adams family may become as synonymous with American music making as the Bach family in Germany. Even though I heard only the latter half of "Drift and Providence," it is clearly an accomplished work by a composer of singular promise. The most notable element is the orchestration, for which the younger Adams has a natural gift. The various orchestral sections mingle with each other in complex and intertwining relationships, creating a density of sound that verges on the ethereal. The percussion is particularly distinctive, with many unusual instruments in the mix, including scraped brake drums and cow bells. A rare contrabass clarinet adds to the sonic panoply.

I hope to hear "Drift and Providence" in its entirety someday, but the opportunities may be few. In contrast, one has ample chance to hear Beethoven's fourth piano concerto, which received its second airing at the Green Music Center this season alone--the first was from Jeffrey Kahane at the opening concert last fall.

Here the soloist was Yuja Wang, a rising star in the classical music world, younger even than Samuel Adams. In contrast to Kahane, who plays with copious body English, Ms. Wang is a picture of restraint, hovering head-down over the keyboard and letting her elegantly sculpted arms and fingers do all the work. She generates tremendous power from her slim frame, and her fingers are a marvel of prestidigitation.

Ms. Wang played the concerto's magical opening chords with authority, immediately placing herself on an equal footing with the San Francisco Symphony, one of the world's great orchestras. Her interactions with the orchestra throughout the first movement were revelatory, each one fully articulating its lines and waiting for the other's response. The cadenza was outstanding. Under Ms. Wang's fingers, it had the intensity and complexity of one of Beethoven's late piano sonatas, a work unto itself.

Conductor Michael Tilson Thomas chose a remarkably slow tempo for the second movement, a pace that might have dragged other pianists down. But Ms. Wang turned the speed to her advantage, letting each note ring out with an unwavering beat. She entered the third movement at full speed, exchanging syncopated phrases with the orchestra in a delightful and ever-escalating call-and-response. The standing ovation at the end was both immediate and thunderous.

To fulfill the classic pattern of contemporary work, concerto, intermission, symphony, MTT chose the inexhaustible Brahms Symphony No. 1, a work so frequently performed that it has become almost an audition piece for measuring the capabilities of different orchestras. Given that the San Francisco Symphony is "auditioning" for a recurring series at the Green Music Center, they passed with flying colors. Their performance was, in a word, magnificent.

MTT started the proceedings with his trademark sweeping gestures, bringing forth a gorgeous unified sound that was both forceful and precise. An exceedingly ambidextrous conductor, MTT is both expressive and easy to read. He knows how to invest music with real drama, and he coaxes the most out of his superb musicians.

Each movement of the Brahms was better than the last. The first was dominated by the strings, who displayed remarkable dynamic control and coherent bowing. The winds carried the second, with its famous oboe solo. The third was silken smooth, the orchestra gliding along as if on a cloud. But the players, like Brahms, saved the best for last. The fourth began with strong pizzicato, a tremendous build-up, powerful brass, and then the majestic inevitable: an indelible theme as recognizable as Beethoven's "Ode to Joy."

The orchestra played throughout with tremendous energy and a deep appreciation of the score. Brahms may be ubiquitous, but that doesn't diminish the power of his music. If anything, it gets better on repeated hearing, particularly in performances as powerful as this one.