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Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE WITH SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
RECITAL REVIEW
MasterCard Perofrmance Series / Sunday, May 18, 2014
Richard Goode, piano

Marcia Weinfeld and Richard Goode in Weill Hall May 18

ELEGANCE AND INTROSPECTION

by Nicki Bell
Sunday, May 18, 2014

A May 18 Weill Hall audience was led by the hands and heart of Richard Goode to a quiet realm of the sublime with a performance of the masterful last three Beethoven Piano Sonatas.

The program was billed as the first time the artist has toured with the Op. 109, 110 and 111 pieces, and these weighty works were leavened somewhat by lighter Beethoven, the eleven short Op. 119 Bagatelles, that opened the second half. Mr. Goode's playing has always avoided the colossal and histrionic in Beethoven, concentrating the musical experience in contrasts that underscore both power and delicacy. It’s an admirable approach removed from a French or Slavic style in Beethoven.

Beginning with the E Major Sonata, Op. 109, the pianist immediately established a strong rhythmic pulse which later carried over into the A Flat and C Minor Sonatas. The second movement of Op. 109 was played aggressively with a lengthy theme and six variations and a clearly-articulated fugue. The trills were technically secure and the reading built to the serene return of the lovely theme.

Opus 110 was similarly dramatic, even more so with insistent lyricism and the pianist deftly portraying the Arioso’s inward despair. The concluding fugue had subtle voice leadings that built gradually to a full and commanding ending.

Concluding the recital was a stormy performance of the Op. 111 work, especially potent in the “Maestos – Allegro con brio ed appassionato” movement. Here the artist scaled technical and interpretative heights with impressive speed and endurance. The monumental and ecstatic Arietta theme was a deeply moving experience and Mr. Goode maintained the basic tempo throughout the variations, including the fourth variation which is frequently played too fast. The performance of this autumnal work had a shimmering depth of emotion and sensitivity palpable to the audience sprinkled with pianists. Surprisingly there was not the usual Op. 111 "held breath" hush, and Mr. Goode appeared disconcerted at the all-too-soon ovation. There was no encore.

The 70-year old pianist played entirely from score, a somewhat rare occurrence given Mr. Goode’s eminence, and the artist selected Weill’s newest concert instrument that proved to have an overly bright treble.

Dean Morse and Sonia Tubridy contributed to this review