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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...
SYMPHONY REVIEW
San Francisco Symphony / Thursday, May 23, 2013
David Robertson, conductor. Marc-Andre Hamelin, piano

Pianist Marc-Andre Hamelin

FIVE FINGERS WITH THE STRENGTH OF TEN

by Steve Osborn
Thursday, May 23, 2013

"My name is David, and I'm going to be your conductor for this evening." With that corny but amusing opening line, guest conductor David Robertson introduced himself and the San Francisco Symphony to a less than full house at the Green Music Center on May 23. It was hard to understand why the place wasn't packed. The soloist, Marc-Andre Hamelin, is one of the top pianists in the world, and the program featured Gershwin's ever-popular "Rhapsody in Blue," along with two crowd-pleasers from Ravel: the Concerto for the Left Hand and "La Valse."

Maybe the opening piece, Elliott Carter's "Variations for Orchestra," is what kept them away. Written in 1955, the variations have all the characteristics of Carter's mature style: short, seemingly disconnected phrases; an abundance of dissonance; lack of anything hummable. Fifty years ago, those aspects may have turned off audiences, but these days they sound relatively tame. In truth, the performance on this occasion was lush, fluid and immensely rewarding.

Mr. Robertson clearly likes Carter, and he compared the composer's technique to the train of thought. "It's like the way we think," he said in his introduction: "Ideas jump off." As evidenced by the program notes, musicologists can have a field day picking apart Carter's formal structures, but the real strength of the piece lies with its impression on the listener. If your ears are open, there's a lot to hear. Beginning with short, pithy phrases from throughout the orchestra, the sound congeals into a kind of jagged unanimity, with notes scattered across several octaves at once.

Mr. Robertson kept all these disparate elements well under control, moving fluidly from one section to the next, occasionally using sweeping gestures to propel the Symphony forward. By the last of nine variations a palpable tension had been established, wonderfully resolved in the Allegro molto conclusion, complete with a fanfare from the brass and timpani.

After respectful applause and subsequent stage entry of a piano, Mr. Hamelin appeared with both arms seemingly intact to play Ravel's Concerto for the Left Hand. The pianist alternately rested his right hand on his right knee or anchored it on the bench for particularly vigorous passages. He needed all the anchoring he could get, for his left hand shortly displayed itself as an anatomic marvel of tremendous power and agility. Leaning heavily on the pedal, he generated a phenomenal sound, more than equal to the Symphony's exertions.

Mr. Hamelin swayed gently with eyes closed as he played, seemingly inhabiting the music. On occasion he arched his fingers into a kind of claw and descended upon the keyboard like a diving falcon, ensnaring his prey with pinpoint accuracy. The melodies rang out and the articulation was superb. Though limited to only five digits, he wrapped the entire auditorium in a gossamer veil of sound. Most important, he etched the Ravel concerto, which can often seem muddy, into a surprisingly well-defined, coherent whole. It's not one of the great concertos, but it's close.

After intermission, the 52-year old Canadian artist returned to play "Rhapsody in Blue," which began with a startlingly good clarinet solo and equally great contributions from the trumpets. After the raucous orchestral buildup, Hamelin--using both hands--calmed everyone down with a delicate solo played with the utmost tenderness. As with the Ravel, he so inhabited the music that he gave the impression that he was making it up as he went along. Each phrase led inexorably into the next in a truly bewitching performance.

The effect of Hamelin's and the Symphony's playing was like hearing "Rhapsody in Blue" for the first time. All those United Airlines commercials were purged from the brain, replaced by a work of undeniable power and originality. The Rhapsody may be "in blue," but this performance drew from the entire spectrum.

Playing Ravel's "La Valse" might seem anticlimactic after the glories of Gershwin, but Mr. Robertson and the Symphony invested the performance with the same degree of panache, so the choice ultimately made sense.

"La Valse" begins almost as if under water, with muted sounds coming from all directions. The conductor unveiled them gradually, using supple but expressive motions. As the sound gained in intensity, he provoked sharp outbursts and then settled into a demonic but controlled frenzy. "La Valse," written in the wake of the First World War, is about as ironic as music gets, recasting the imperishably happy waltz motif into a dance of death. Mr. Robertson enacted this role with vigor, transforming himself into an expiring ballet dancer as he hurled his arms to and fro across the podium. The end arrived with a bang, followed by sustained applause.