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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...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
RECITAL REVIEW
Mastercard Performance Series / Saturday, March 7, 2015
Murray Perahia, piano

Pianist Murray Perahia

PERAHIA'S INTENSITY SHINES IN WEILL HALL RECITAL

by Terry McNeill
Saturday, March 7, 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.