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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...
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 Tchaikovskyís 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 didnít 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 ďJuneĒ Barcarolle and Autumn Song ďOctober,Ē and in ďSeptemberísĒ Hunting Song the volley of octaves in both hands were delivered with telling accuracy. The tempo for ďOctoberĒ was the slowest in memory and created a magical spell.

People always gravitate to Mr. Langís 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-NoŽl the Tempo di Valse had the appropriate winter enchantment but suffered from a long tasteless accelerando at the end. Itís 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.

Bachís popular Italian Concerto (S. 971) closed the first half and the pianistís 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 didnít.

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

Following an extra-long intermission the artist tackled Chopinís 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 Poleís 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 workís 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. Langís 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, itís hard to play really fast with clean note-to-note symmetry.

There was a standing ovation.

Mr. Langís 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 canít 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 didnít 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.