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Recital
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...
Symphony
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,...
Symphony
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...
Recital
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...
Symphony
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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