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A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
RECITAL REVIEW

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.