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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
RECITAL REVIEW
Mastercard Performance Series / Saturday, January 24, 2015
Yo Yo Ma, cello

Cellist Yo Yo Ma

MESMERIZING BACH AND CASALS IN MA'S WEILL HALL RECITAL

by Terry McNeill
Saturday, January 24, 2015

Cellist Yo Yo Ma’s warm friendship with North Coast audiences entered a new chapter Jan. 24 in a standing-room only and stage seats Weill Hall recital. Playing three Bach Suites for solo cello, Mr. Ma could have echoed the young Liszt’s famous comment, “the concert is me.”

But the concert was really about Bach, and Mr. Ma’s dedication and mastery for these ever-fresh works composed in the early 1720s in Cöthen, Germany. Wearing a simple dark suit he walked quickly on stage to first of four ovations, and with his trademark grin got down to business with the G Major (No. 1), BWV 1007.

The lack of winter audience coughs was a surprising bonus, and the cellist made the most of the hall’s silence to fashion an evening’s Bach that spotlighted rhythmic virtuosity rather than a constantly speedy bow and work on the fingerboard. It seemed there was never an extended presto the entire night, and Mr. Ma was in no hurry to get anywhere in this Suite and the No. 5 in C Minor (BWV 1011) that closed the first half.

All through both works the pianissimo playing was superb with varied attacks and textures in the repeats and a fluid legato with minimal vibrato. Often there was no vibrato at all in long-held notes at the end of silken phrases. These were carefully balanced interpretations, often restrained and emphasizing the subtlest changes in tempo and inflection. The crescendos were long and beautifully paced.

Mr. Ma drew a warm geniality in the concluding C Major Suite (No. 3, BWV 1009) and the sonority was underscored in his cello by the use of low open C string in chords. His control of multiple stops was sovereign in this seven-movement suite. The plaintive and magisterial Sarabande was at the center of his reading, and the Gigue came forth as a rustic dance with pedal point.

Responding to a spirited standing ovation Mr. Ma eschewed in an encore something popular and fast (the Gigue from the E Flat Suite) or popular and slow (St. Saëns’ “Swan”) and paid homage in audience remarks to Pablo Casals, who in modern times first played the six Suites together and first recorded them in 1936. He played a mesmerizing “The Song of the Birds” that the Catalan cellist wrote in the 1930s. The shimmering long phrases and luminous trills sounded out in a Weill Hall where nearly 1,500 people breathed as one with the extraordinary musician.