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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
RECITAL REVIEW
Mastercard Performance Series / Sunday, April 26, 2015
Alisa Weilerstein, cello; Inon Barnatan, piano

Cellist Alisa Weilerstein

WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW ONE

by Joel Cohen
Sunday, April 26, 2015

The MasterCard Performance Series in Weill Hall featured an April 26 recital by cellist Alisa Weilerstein and pianist Inon Barnatan.

In Beethovenís substantial D Major sonata, Op.102, No. 2, the duo were clearly at ease with both the technical demands of the writing and with each other. They showed a lovely rapport in all the give-and-take between the instruments that is such an important part of Beethovenís chamber music writing. Particularly striking was how, in the composerís sudden dynamic changes, not only the volume, but the character of their playing changed distinctly. This carried over as the second movement began in its distant, timeless opening half-note chords. Their rendition was quite touching without being overly sentimental or exaggerated.

Mr. Barnatan had an elegant touch and, although the acoustics of Weill Hall are at best dubious for small chamber music and string instruments, it never overpowered Ms. Weilersteinís sound. She did have a propensity to play quite a bit in a pianissimo lontano, given the fact that for her clearly fine cello the room is excessively live and diffuse. The fugal third movement of the Beethoven was lovely and conversational, dramatic as called for but never losing that joyous interplay that makes this movement and piece compelling and a standard in the cello repertoire.

Following the Beethoven was Schubertís C Major Fantasie, D. 934, a work originally written for violin and piano and played with aplomb by Ms Weilerstein. This is a wonderful example of Schubert at his mature best (if any composer dying before his 32nd birthday can have reached musical maturity!). It is considered virtuosic for both violin and piano, and doubly so for the part played on the cello. Her command of the instrument was stunning, with massively difficult passages being played with verve and confidence. The end of the Fantasie was met with an immediate standing ovation from the audience.

After intermission the duo played music of the young Philadelphia composer Joseph Hallman, named by NPR one of the top composers under age 40. DreamLog was written for Ms. Weilerstein and Mr. Barnatan as a series of the composerís dreams, some with descriptive titles such as Stellar Vision and Poulenc/Picasso vs. Shostakovitch/Kandinsky. It was helpful that they talked about the piece before playing, and of how many of these sections were random, so each time it was performed it would sound different. Those with titles seemed appropriate to their inspirations. They performed four of the eleven movements.

The duo closed the program with the G minor Sonata, Op.19, by Rachmaninoff. This large, four-movement work was written immediately after the successful 1901second piano concerto. It is full of the romantic drama and rich melodies that are a trademark of Rachmaninoff. Ms. Weilerstein and Mr. Barnatan easily rose to the occasion. The performance was completely convincing and the audience rose to their feet as one to acknowledge that fact. Although brought back to the stage twice by continued applause, there was no encore.

The audience was exceptionally appreciative but their modest numbers made the Weill seem cavernous. Schroeder Hall would have been a better location where the cellist could match her sonority with the pianistís sound. As it was, Mr. Barnatan did a commendable job of sounding authoritative and dramatic without unduly covering Ms. Weilerstein.

This was a virtuosic collaborative duo, well worth seeking out the next time they come to Northern California.