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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
RECITAL REVIEW
MasterCard Performance Series / Sunday, April 27, 2014
Hilary Hahn, violin; Cory Smythe, piano

Violinist Hilary Hahn

PRISTINE CONTROL, SUBDUED EMOTION

by Terry McNeill
Sunday, April 27, 2014

Hilary Hahn’s April 27 Weill Hall recital found the violinist entering the stage without her instrument, beginning ten minutes of comments about the program. She does these introductions well, and most of the audience enjoyed the discourse comparing Schubert's Fantasia for Violin with Schoenberg’s thorny Phantasy for Violin, and her recent commissioning project of 27 encore pieces.

And it was with this fresh set that she began with Welsh composer Richard Barrett’s three-minute “Shade,” a skittering tour de force of spiccato bow effects and eerie mystery. The sound had a scary edge, stopping and starting, and pianist Cory Smythe had the last word with a rich soft bottom B note.

Anton Garcia Abril’s Tres Suspiros followed, the three parts spotlighting Ms. Hahn’s superb bow control that allowed her to fashion the small thematic snippets in the first and third movements with aplomb. There is more than a little Messiaen here, and in the third movement the duo deftly played long phrase endings. The solo violin second movement had a lovely controlled pianissimo and a flavor of gypsy rhythms.

Schoenberg’s Op. 47 Phantasy was played very well, but I must admit I have never connected with it as I do with the Viennese master’s Violin Concerto. Ms. Hahn’s focus, intensity and stamina were admirable throughout this vexing work from 1949. The piano part is often furtive, and Ms. Hahn’s multiple tone skips were pristine.

Closing the first half was Mozart’s A Major Sonata, K. 305. The music fell warmly on the ear after the pesky Schoenberg. The playing struck an argumentative note in the first movement, and in the concluding variations the pianist’s subdued legato playing contrasted with the soloist’s marvelous tone, smoothly changing from dry to florid. That said, it’s one of Mozart’s least interesting sonatas, albeit well laid out for both piano and violin.

Two works comprised the second half, preceded again by Ms. Hahn’s remarks to the audience of 1,200: Telemann’s E Minor Fantasie for solo violin (TWV 40:19) and Schubert’s C Major Fantasia, D. 934. The Fantasie was played without score and was faultless in all registers. These were gallant dances with contrapuntal twists galore, a Baroque delight that made one want a Bach Partita from Ms. Hahn’s magical instrument.

In the protracted Schubert piece, Mr. Symthe was an attentive but not virtuoso pianist, playing sporadic muddy scale passages and beginning far too loudly. Here the music for both instruments needs to carefully grow from silence. A long held note in the violin led effortlessly to the rondo theme, emphasizing the long arch of rarified lyricism. In the opening slow section, Ms. Hahn used portamento rarely, but in the many repeats played them with variety: here a diminuendo, there a less forceful character or a tad less vibrato. She has a consummate and delicate pizzicato technique with at times intriguing inflections.

The 26-minute performance had a triumphant and majestic finale, each musician trading motives in a celebratory way leading to an exciting finish.

Responding to a standing ovation, the violinist played Max Richter’s “Mercy,” a threnody work that has sounds like Pärt or new-age music. But here it was mesmerizing with long decrescendos and, as always, Ms. Hahn’s subtle control of pianissimo and bow position. Slow piano chords were in the background, leaving the yearning and delicate work to a violinist at the top of her game. It was an encore that had a certain emotional impact that was lacking in the recital proper.

Violinist Mischa Hubermann contributed to this review