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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 / 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.