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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
RECITAL REVIEW
Mastercard Performance Series / Saturday, October 03, 2015
Lang Lang, piano

Lang Lang Playing Bach 10-3-15 in Weill Hall (Drew Altizer Photo)

LANG LANG LAUNCHES WEILL HALL SEASON WITH EXPLOSIVE MUSICAL TRILOGY

by Terry McNeill
Saturday, October 03, 2015

Lang Lang has performed three times in Sonoma County, all reviewed at Classical Sonoma, and I was anxious when he mounted the Weill Hall stage Oct. 3 to hear what might have changed in his playing since September of 2013.

The program was exactly the same as played in recent Paris and Torino recitals (on YouTube) so the unique nature of the readings was somewhat familiar. And as the New York Times critic Anthony Tommasini has written, at a Lang Lang concert one hopes for the best.

Much of the best playing came with Tchaikovsky’s 1875 work The Seasons, Op. 37b. The work is more effective with a selection from the set of 12, and in some printed editions and performances the poems that precede each month are written or spoken in Russian. Mr. Lang didn’t opt for this construct (how is his Russian?) but no matter as he put his stamp on each, delighting in the contrasting poetic and stormy episodes. The pianist was achingly languorous in the “June” Barcarolle and Autumn Song “October,” and in “September’s” Hunting Song the volley of octaves in both hands were delivered with telling accuracy. The tempo for “October” was the slowest in memory and created a magical spell.

People always gravitate to Mr. Lang’s pyro techniques, but as in past recitals I find more interest when he uses melting phrases and a captivating pianissimo touch. This is a facet of his art that is mature and will last. In the concluding Christmas-Noël the Tempo di Valse had the appropriate winter enchantment but suffered from a long tasteless accelerando at the end. It’s a quiet ending, rare for a Tchaikowsky piano work, and the applause from the full 1,400 attendees in Weill was loud but not an ovation.

Bach’s popular Italian Concerto (S. 971) closed the first half and the pianist’s opening Allegro was brisk and arresting. New in his playing are abbreviated inner voices. These are not harmonic or stylistic voices that flesh out themes (such as heard in Hofmann and Cherkassky recordings) but piquant peppery accents that sometimes added charm to the music, and sometimes didn’t.

Embellishments were often unique but persuasive in the leisurely Andante and Bach’s swift contrapuntal lines were clear in the concluding Presto. The turn at the end was arpeggiated.

Following an extra-long intermission the artist tackled Chopin’s four Scherzos. Ops. 20, 32, 39 and 54. In past Weill appearances the pianist has played extended sets of Mozart Sonatas and Chopin Ballades, and here the restless and histrionic demands of the great Pole’s music drew aggressive and vehement interpretations. In the first B Minor Scherzo the lyric section was lovingly phrased and the difficult fiery coda powerful and convincing. A standing ovation followed the crashing final chords.

In the B-Flat Minor the performance reminded one of Artur Rubinstein, who played the Scherzo his entire career to close recitals. It had the requisite heroics but not enough of the work’s charm. My gold standard for the second Scherzo is the matinee handsome Pole Witold Malcuzynski, who played it in Berkeley on his farewell American tour with half Mr. Lang’s virtuosity, but with subtle pedaling and chaste majesty. There was brilliant finger technique and sledgehammer force here but strangely many scales, especially descending, were blurred. Yes, it’s hard to play really fast with clean note-to-note symmetry.

There was a standing ovation.

Mr. Lang’s strong fingers mastered the dramatic opening octaves of the C-Sharp Minor Scherzo, as he did beautifully in the chorale theme of leggierissimo arpeggios. This was a raucous spectacle of controlled pianistic fury and another standing ovation ensued, with the additional raw sound of hundreds of seat bottoms snapping to vertical as people jumped up.

A joyous change was the final E Major Scherzo, and Mr. Lang built short climaxes and elected a waltz character that emphasized sunny textures. By again speeding up the beginning of a coda the pianist missed conveying the enchanting phrase where the original rhythm returns. It seems he can’t avoid tinkering with endings that generate gallery-thrilling effects.

A standing ovation greeted Mr. Lang, who acknowledged in all directions from the stage his pleasure in such a triumph, but he didn’t return to the spotlight for a conventional set of encores. He first spoke about his Foundation 101 Pianist program for youth that would be on the same stage the next day, and then spoke of an imminent first trip to Cuba. For that he played a jazzy short Lecuona-like dance piece, as insipid as it was exciting.