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...
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...
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...
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...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Violinist Itzhak Perlman
ITZHAK PERLMAN: HIGH VOLTAGE VIRTUOSO
by Steve Osborn
Saturday, September 21, 2013
Weill Hall at the Green Music Center in Rohnert Park is actually two halls: one inside the graceful building and one outside on the amphitheater-shaped lawn. The two connect at the back of the hall, where giant panels can be slid open to bring the outdoors in and the indoors out.
Perhaps the best view of this dual identity is to be had from the "choral circle," two or more rows of seats that encircle the sides and front of the hall. The seats on the sides face forward, so you can pan back and forth between the lawn and the stage, as if watching a tennis match.
This dual identity is visually striking, but it does lead to an important sonic challenge: how to transmit the sound outside while preserving the acoustics within. The answer at this point seems to be amplification in both spaces, as was made abundantly clear in the opening notes of Itzhak Perlman's Sept. 21 recital at Weill. For the first few bars of the opening piece, Beethoven's Violin Sonata No. 1, the sound of the violin within the hall rang out impossibly loud. The culprit was a discrete black microphone positioned a few feet in front of Perlman, who was seated in an electric wheelchair. A few seconds later, a hidden technician turned down the volume, and the violin assumed a more normal acoustic relationship with the piano, which was also miked.
For the purists in the audience, the illusion of unadulterated sound was shattered, but some acoustic compromises seem inevitable, given the nature of the space. In any event, Perlman's playing soon put all those issues to rest. He would be just as beguiling on an electric violin as on a Stradivarius.
All his fundamental qualities were on display in the Beethoven: a muscular sound marked by extreme fluidity, exquisite bowing, nearly perfect intonation, well-controlled dynamics and maximum expression. His many runs up and down the fingerboard were flawless, played as gently as the breeze wafting in from the lawn.
In the slow second movement of the Beethoven, a classic theme and variations, Perlman let the tune ring out and then made each variation utterly distinctive, from strident to sweet to majestic. His able accompanist, Rohan De Silva, led off the third movement vivaciously, striking the unexpected sforzandi to dramatic effect. Perlman echoed those surprises, then added some of his own, imbuing Beethoven's sonata with great narrative urgency.
That same sense of a master storyteller emerged in the next work, Grieg's Violin Sonata No. 3, his last and most popular sonata. This uber-Romantic work is just a few notes shy of being a full-blown concerto, particularly in the last movement, with its familiar call-and-response format. The opening movement has a strong sense of foreboding, with a repeated seven-note phrase punctuating the texture like an insistent Morse code. Perlman's bowing for this phrase was incredibly supple, shifting seamlessly from long notes to staccato bursts.
The dreamlike second movement, with its slow, heartbreaking melody, set the stage for the rollicking finale, replete with folk dances and virtuosic displays. Perlman really inhabited the sonata, displaying supreme confidence throughout its performance.
With those two full-fledged sonatas under his belt, Perlman opened the second half of the show with Kreisler's arrangement of Baroque composer Tartini's "Devil's Trill" sonata. The arrangement probably makes historically informed performers cringe, but it's a lot of fun, with incessant double-stops, portamento galore, and the obsessive finger-twisting trills of the title. By the climax, the melody is buried beneath such a thick layer of trills that the violin sounds like an entire orchestra.
Perlman followed the Tartini-Kreisler with two more Kreisler arrangements of obscure Baroque and Classical composers, first from Giovanni Martini and then from Francois Francoeur, whom he described as a "legend in his own home." Both were sonic baubles based on simple melodies.
Next came Tchaikovsky's "Chanson sans parole," which Perlman joked had been written for a friend of the composer's stuck in prison. This was somewhat meatier musically, with a charming lyric theme and some effective harmonics at the end. A Caprice by Henryk Wieniawski followed, again arranged by Kreisler, this time with bowing so rapid that Perlman's wrist fluttered like a bird's wing.
The program proper concluded with Brahms' "Hungarian Dance No. 1," as arranged by Joachim. Here Perlman set a furious pace with lots of rubato and some upper-position work that got a little dodgy toward the end. The encore, after thunderous applause, was Antonio Bazzini's "Dance of the Goblins," a showpiece to end all showpieces. The technical demands are almost beyond belief, but Perlman appeared unfazed as his fingers flew across the violin, each one apparently in several places at once. It would have been electrifying even without the microphone.
[Reprinted by permission of San Francisco Classical Voice.]