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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
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
RECITAL REVIEW
Sonoma State University Department of Music / Saturday, August 23, 2014
Jeffrey Kahane, piano

Pianist Jeffrey Kahane

KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL

by Terry McNeill
Saturday, August 23, 2014

Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade.

A jammed Schroeder Hall audience heard Mr. Kahane August 23 in a short recital during the opening weekend's events. He began with Beethoven's C Minor "Pathétique" Sonata, Op. 13. After playing a riveting slow first-movement statement, he selected a tempo that he could not sustain without wrong notes and blurred scales. He took the repeat and emphasized momentum and sharp contrasts at the expense of sonic clarity.

The Adagio movement had a stable tempo and lovely phrasing, but in the finale Mr. Kahane returned to a muscular approach, the Sonata's drama finally overcoming pianistic transparency.

Four Chopin works concluded the afternoon, and though the pianist understands the structural nature of the pieces, he is not an innate Chopin interpreter. The E Flat Nocturne of Op. 55 had little rhythmic subtlety and was over-pedaled, a shadow of Friedman's iconic 1936 recording. The arpeggiated final chord was novel, and the repeated A flats in the treble were bursts of beguiling light.

Two Mazurkas followed from Op. 56 (C Minor, No. 3) and Op. 50 (C-Sharp Minor, No. 3). These were workmanlike readings, a little loud for the small hall, with the middle section of the wonderful C-Sharp Minor receiving the most persuasive playing. Chopin's mazurkas are tiny gems with amazing harmonic twists that Mr. Kahane played with finish but not with the requisite deft touch and rhythmic "lift."

A specialty piece for the pianist, the Op. 52 Ballade was given a passionate performance where the parts didn't quite add up to a potent whole. Here too much damper pedal muddied and clipped the endings of phrases, and passagework and right-hand chords were blurred. The chorale section was beautifully shaped, taking advantage of the Schroeder piano's mellow tone quality. In less than 10 minutes Chopin wrote a work of cosmic power and visceral impact, both carefully unfolding under Mr. Kahane's fingers and feet but never quite scaling an emotional peak.

A standing ovation brought an encore of Schubert's B Flat Impromptu from Op. 142. The swirls of left-hand notes were captivating and the long fermata quietly ended the Schroeder's first piano recital.