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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
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.