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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
MasterCard Performance Series / Tuesday, September 17, 2013
Lang Lang, piano

Lang Lang Playing Chopin's Aeolian Harp Study Feb. 17

CHOPIN, CHOPIN, LANG, LANG

by Terry McNeill
Tuesday, September 17, 2013

It’s always a recital of surprises when the exciting pianist Lang Lang plays. In a reprise concert from last season’s Weill Hall opening gala, the Chinese virtuoso eschewed 2012’s conventional format of Mozart Sonatas and Chopin Ballades and chose Sept. 17 a mixed bag of Chopin works that alternatively titillated and enraptured a full house that included 50 stage seats.

Mr. Lang’s pianism is startlingly complete with an inexhaustible command of technical details. Even in difficult cross-hand and speedy double-note passages, or in wide skips for both hands, his aim is infallible, and his pedaling precise. This was quickly evident in the opening G Minor Ballade, Op. 23, where the introduction and first theme were played ever so slowly. Slow thematic development is a hallmark of his playing, mostly a good thing, as Mr. Lang was clearly going to tell hearers a story with this and the F Major and F Minor Ballades. He did this by often teasing the phrase endings that almost broke the melodic lines and the story arc. Almost but not quite. And although he rarely tampers with the score, in the First and Fourth Ballade the pianist added long ritards in unique places and little sforzandi and deep bass notes to seemingly spice the texture.

The C-Sharp Minor Study of Op. 25 was pensive and achingly slow, as was the F Major Nocturne from Op. 15, the second work for me the loveliest performance of the first half. Closing the first part brilliantly was the E Flat Waltz of Op. 18, the flurry of repeated notes powerfully played and with a maximum amount of facial mugging and torso stretching.

Contrary to many notions, Mr. Lang’s best playing comes not from pyrotechnical scales and calculated drama but from his exquisite and delicate touch in short and long soft passages. His pianissimo control is superb, among the best of any living pianist. An example is the E-Flat Major Nocturne of Op. 55, a piece he played as an encore last year on the same stage, and the super slow tempo worked to his advantage. The high repeated B Flats were shafts of distant light rather than the usually described bell tones. The gold standard for this piece is Ignaz Friedman’s iconic 1936 recording, and Mr. Lang’s playing of this masterful Nocturne was an object lesson of the pianist’s touch and control. At the end, a slightly dissonant b flat-a flat-f-b flat chord hung in the air for seconds, the piano’s perfectly-adjusted damper fall resolving magically into the final resonance of three hushed e-flat chords. Breathtaking.

Chopin’s virtuosic and showy Andante Spianato and Grand Polonaise ended the recital and was performed in the currently-accepted juxtaposition of tempos, the delicate Andante slow and dreamy and after a 16-bar introduction, a rapid jeu d’espirit Polonaise. This is the opposite way of past performance practice. But of course the big final five E Flat chords brought down the house, and the pianist played a fetching lyrical Chinese work, “Changes in the Moon,” after remarking to the rapt audience that a glorious late summer full moon was in the sky.

The printed program mixed up the pieces but Mr. Lang in short remarks to the audience announced an extra haunting Mazurka from Op.17, the Op. 25 “Aeolian Harp” Etude (serenely performed) and the D Flat Waltz (“Minute”), the last played with blazing speed, lengthy right-hand trills and a deliciously tasteless ending.

The recital was the first public hearing of the Hall’s newest concert piano, chosen in New York in August by Mr. Lang and prepared by the Hall’s insouciant consulting piano “curator,” Peter Sumner, and staff technician Larry Lobel. Both men were present to greet the artist and hear the instrument put vividly through its paces.

Lang Lang is an artist who has to be taken on his own terms, and what is pretentious playing to some is astounding pianistic entertainment to a great many. Piano recitals are the happy beneficiaries.