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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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.