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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
SYMPHONY REVIEW
Mastercard Performance Series / Friday, March 27, 2015
Gil Shaham, violin

Gil Shaham playing Bach beneath slow-motion movie. Photo K. Loken

FASTER THAN A SPEEDING BULLET

by Steve Osborn
Friday, March 27, 2015

Look! Up in the sky! It's a bird. It's a plane. It's Gil Shaham-man, the superhuman violinist! He's faster than a speeding bullet!

If you long to zoom around a speedway at 200-plus miles per hour but can't afford a race car, Gil Shaham can replicate the experience for you on his violin. In his March 27 performance at Weill Hall Shaham mounted a lightning-fast assault on Bach's sonatas and partitas for unaccompanied violin. The lightning was clearly visible to anyone trying to keep track of his fingers and bow, but the thunder was only intermittent.

How fast did Shaham play? A friend timed the famous Chaconne in Partita No. 2 at just over 11 minutes. In contrast, the Hilary Hahn recording of the Chaconne clocks in at just under 18, and Heifetz under 14. Entire sonatas seemed to zip by in the flicker of an eyelid.

As highway patrol officers often intone: "Hey, buddy, where's the fire?" Skeptics might say that Shaham was hurtling through Bach so he could finish the pieces in under two hours (the time he allots in his program notes) and get the audience home at a reasonable hour. As he explains in the notes, however, "I believe composers often think of violin writing as rapid and brilliant ... so my feeling for the general tempos of this music is faster. It swings better." Whether or not the music swung better is a judgment call, but the factual consequences of all that speed were rampant: The intonation suffered; the bowing was often ragged and scratchy; and the notes themselves were imprisoned in a hurtling cannonball.

Shaham added the further indignity of projecting slow-motion movies behind him that seemed disconnected with the music.

According to the program notes, the music-movie combo was the brainchild of filmmaker David Michalek, who specializes in ultra-slow-motion movies of minimal actions, such as a woman lifting her arms. What normally takes a few seconds becomes a matter of minutes ó the reverse of the Shaham approach. Michalek explains that he watched one of these movies (of two boys) while listening to a Bach unaccompanied cello suite. For him, the music "seemed to be engaging in a subtle kind of dialogue with the boys' faces."

Maybe the cello suites are different, but the videoís dialogue with the violin sonatas and partitas was so subtle that it disappeared. To be sure, the movies often showed dancers, and the partitas are filled with dances, but the connection ends there. The most jarring disconnect was in the Chaconne movie, which showed a Japanese woman in a wing-like kimono waving two fans. Of all the things you might imagine while listening to this transcendent piece of music, kimonos would seem to be at the bottom of the list.

Fortunately, it was easy to ignore the movies and focus on Shaham, who appeared blissfully relaxed while tearing through the music at breakneck speed. He played while standing on a black area rug that he crossed and recrossed as the spirit moved him. In some passages, he turned sideways and leaned forward on one leg, much in the manner of rock guitarists. In others he planted his feet on the ground as if to aid his bow speed.

When Shaham slowed down, the results were often magnificent. His dynamics, particularly his pianissimos, drew rapt attention from the audience, and his fortissimos rang out. What didn't ring out were the rest of the notes, which struggled to emerge from the blur of sound. To be sure, the blazing tempi made sense at times, occasionally offering a revelatory experience for listeners accustomed to more languorous performances; but the rest was an inscrutable puzzle.

As with the lack of connection between the movies and the music, Shaham's connection with Bach was hard to discern. Shaham may feel that the music swings better when it's faster, or when it's illustrated, but judging from this performance, the evidence is thin.

Reprinted by permission of San Francisco Classical Voice.