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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
RECITAL REVIEW
Mastercard Performance Series / Saturday, March 07, 2015
Murray Perahia, piano

Pianist Murray Perahia

PERAHIA'S INTENSITY SHINES IN WEILL HALL RECITAL

by Terry McNeill
Saturday, March 07, 2015

Murray Perahia has built a long pianistic career based on performances of discernment, classical structure and impeccable taste. His playing always exudes a refinement and lapidary attention to musical detail. And so it was in his March 7 Weill Hall debut recital before an audience of 900, with a conventional program of balanced and celebrated works.

Opening the evening Bach’s 6th French Suite (BWV. 817) received a reading emphasizing careful dynamic control, fast tempos in the Courante and Bourrée, intriguing embellishments and much half pedal. In Weill piano concerts with a less-than-full house, fast tempos, diminished volume and legato playing can pose clarity difficulties. And Mr. Perahia’s Bach and the Beethoven “Les Adieux” Sonata that closed the first half, especially in Le Retour, displayed a lack of textural clarity in the fleet sections with large resonance.

This is not to say that the pianist played the Op. 81a Sonata routinely, a piece he has lived with for decades. The Andante Espressivo L’Absence had the requisite sprightly tempo, lovely tone colors and patrician phrasing, and surprisingly in the finale there were doubled left-hand bass chords and brusque sforzandos. The music always had intensity and prismatic tints that shone resplendidly.

New York Times critic Harold Schonberg described Mr. Perahia’s pianism, after honoring the note-perfect mastery and serious musicianship, as in many big works “overly polite.” If that observation was accurate, and I think it was, things have certainly changed, as in Franck’s Prelude, Choral and Finale that opened the second half. In each of the program’s works, save for Haydn’s fleet A-Flat Major Sonata, smudged notes popped up but never affected the music’s impetus or in the Franck the course of the big single melodic idea. The playing captured the piece’s Romantic mystical nature and the Bach references in the Fugue. There were unexpected inner voices and just a little ferocity in the Choral, the focal point of the 1884 piece, a specialty of the late Jorge Bolet.

Chopin’s B Minor Scherzo ended the program. Here Mr. Perahia used big dynamic contrasts to give variety to the many repeats (I have always thought the cut version more effective) and though he eschewed big sonority he seized the Scherzo’s restless momentum and histrionics. The fiery coda went off the tracks in the final tumultuous upward run but the audience rightly loved it and responded with a prolonged standing ovation.

Chopin’s F Major Nocturne from Op. 15 was the first encore, and the playing was curiously lacking in subtle rubatos and had monochromatic tone color. The tranquil cantilena and strong left hand in the turbulent middle section were admirable. Speed returned to buffet clarity in the last encore, Schumann’s Traumes Wirren from the Op. 12 Fantasiestücke. Since these “dreams” are skittish, finger velocity is a necessity, and Mr. Perahia provided it but without transparent control at the highest level of technique.

The pianist’s connection with Weill’s audience was formal and unassuming (minimal bows, austere facial expression) that in some ways reflected his cultivated and assured artistry.