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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
RECITAL REVIEW
Mastercard Performance Series / Friday, January 22, 2016
Marc-André Hamelin, piano

Pianist Marc-André Hamelin

INSPIRED SCHUBERT IN BRILLIANT HAMELIN RECITAL IN WEILL

by Terry McNeill
Friday, January 22, 2016

In addition his brilliant pianism, Marc-André Hamelin has built a substantial international career by embracing unconventional repertoire and innovative transcriptions. Who else plays Catoire, Hofmann, Chopin-Godowsky, Dukas, Medtner and…Hamelin?

So the Canadian’s Jan. 22 Weill Hall recital was a surprise with the first and last works being popular Mozart and Schubert Sonatas. But they were great Sonatas, especially the opening Mozart D Major work (K. 576) that was played with easy grace and harmonic highlighting. Even when the music turned playful the tempos were never rushed. Purists might abhor the pianist’s ritards in the final two movements, but Mr. Hamelin is a romantic at heart, and the music can accept such warm treatment.

Many of the Allegro’s speedy right hand scales were on the edge of blurring, but Mr. Hamelin let a lot of repose into the Adagio, abetted by one delicious ritard. Jaunty playing characterized the finale. It may not have been Mozart to everyone’s taste, but I found it persuasive.

Turning to Book II of Debussy’s Images, Mr. Hamelin spun a lovely web of color with sensitive pedaling and phrase nuance to generate a memorable reading. Both the “Cloches á travers” and “Et la lune” were atmospherically beguiling and had transparent sonorities. The chime effects were captivating, as were the dissonant seconds in “Et la lune.” The pianist’s control was sovereign in the concluding “Poissons d’or.” The tremolos, carefully graded arpeggios and a powerful coda floated and then burst over the Hall’s audience, small at 350 for such a virtuosic and widely-admired pianist.

Virtuoso was the word for the two Hamelin pieces that closed the first half, Pavane Variée and Variations on a Theme of Paganini. The latter was the best, a champagne orgy of sonority exploration, especially in the bass register. Commanding every part of the keyboard, Mr. Hamelin’s octave playing was superb, and along the way a sweet phrase was shattered by dissonant runs in each hand. No reference to composers other than Mr. Hamelin could be heard, and the famous theme appeared in every guise and finally brought down the house with huge volumes of sound.

The Pavane began with interesting chord progressions but quickly the chaste theme is lost in a tsunami of notes and mostly inconsequential effects. There are hints of Debussy, Rachmaninoff and Szymanowski in this music, but only hints. But again, what other pianist in the recent Green Music Center has played self-composed music? Mr. Hamelin’s pianism is never less than provocative.

Schubert’s seminal B Flat Sonata (D. 960), his last one from 1828, comprised the second half. It’s interesting to note how popular this work has become, juxtaposed with the lack of interest in Schubert by famed “Golden Age” piano virtuosi. The first recording of any Schubert Sonata was as late as 1928!

This evening Mr. Hamelin played the rapturous first-movement themes slowly and with palpable concentration. He was clearly inspired, breaking an occasional left-hand chord and inserting many tiny ritards. At all times he keeps his left foot on the shift pedal and gets the resulting color effects from the instrument that lesser artists miss. Just before the return of the exposition in piano he played the 8-bar dramatic fortissimo eruption that used to be omitted, but now is frequently played. There were extended pauses between some sections, as much as three to five seconds, that gave a sacred and focused character to the music. The chordal weighting was masterly and he used the damper pedal twice with the ending chords, avoiding a fermata.

The slow and stately Andante was underplayed, beautifully voiced with smooth transitions to new keys. The attacks were precise. Such playing was all the more impressive when contrasted with the following Scherzo, as the latter whizzed by with a slightly spunky dance in the middle and accented left-hand notes.

After so much meticulous attention to the composer’s majestic creation Mr. Hamelin produced a more vigorous (but never coarse) sound in the finale, using much damper pedal but again slowing for modulations and some lovely voice leading. It was a 46-minute performance, never sounding long, of spiritual beauty and exalted pianism. Though called back three times, Mr. Hamelin offered no encore. However, the anticipated fun of hearing several of his splashy post-program bagatelles was wholly offset by a Schubert Sonata performance to long cherish.

The marvelous Mr. Hamelin played the finest piano concert in Weill since the long ago Garrick Ohlsson recital.