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Recital
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...
Symphony
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...
Recital
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...
Recital
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...
Chamber
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...
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 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