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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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. ...
RECITAL REVIEW
Mendocino Music Festival / Thursday, July 17, 2014
Robert Schwartz, piano

Pianist Robert Schwartz

UNHURRIED COMMAND IN MENDO FESTIVAL RECITAL

by Terry McNeill
Thursday, July 17, 2014

Pianist Robert Schwartz opened Mendocino Music Festival’s piano series July 17 with a set of works in a recital made for keyboard connoisseurs. His success was doubly gratifying for the artist as he had played on the same stage at last year’s Festival, but had to cancel most of the recital due to illness.

This year he began with Mozart’s challenging B-Flat Major Sonata, K. 570. It is a late work, full of contrapuntal interest, but his writer was unable to review the playing.

Closing the first half was a selection of six Mendelssohn Songs Without Words, taken from Ops. 19, 62 and 67. These short lyric works are in eight books, written throughout the composer’s lifetime, and need to sound as fresh as the day they were composed. Most have simple titles and Mr. Schwartz began with the A Major Song, “Confidence,” from Op. 19. Here as in the subsequent five he avoided extensive rubato and focused on structural details and the tonal beauty of each. The relaxed F-Sharp Major Song (Op. 67, No. 2, “Lost Illusions”) needed a quicker tempo but the following “May Breezes” and “Funeral March” received relaxed and subtle readings.

The concluding Allegro con Fuoco Song (“Departure,” Op. 62, No. 2) was boisterously played, appropriately loud and happy. The audience of 140 loved it.

Brahms’ Op. 5 Sonata closed the program, the granitic five-movement one in F Minor that is seldom played, especially at a summer festival. The artist's witty pre-performance remarks alluded to the need at this time in his life to climbing the Brahms mountain, and perhaps rekindling a long-ago interest since a student had brought the work to a recent lesson.

The sprawling first movement tempo was contemplative, the big bass chords rounded and plush. The closing fermata was extra long. Perhaps the best playing of the afternoon came in the Andante Espressivo where Mr. Schwartz caught the mercurial shifts in mood and pedaled deftly through phrase endings. There was a captivating pause before the coda, and not a sound came from the audience or the occasional outside Main Street motorcycle snarl.

Climaxes in the stormy Scherzo were built well and the finale (Allegro Moderato) had a strong march momentum and chaste playing of the lovely second theme. The pianist’s conception was packed with drama and there was no rush to get anywhere. Brahms under Mr. Schwartz’ fingers, feet and heart never hurries.

No encore was offered to the audience of 140.

Robert Schwartz doesn’t have powerhouse technical equipment, at least at this stage in his long career, but presents magnificent music in a serious and carefully crafted manner. Piano aficionados can ask for nothing more.