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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, April 23, 2016
Midori, violin; OzgŁr Aysin, piano

Violinist Midori

EERIE SCHUBERT AND SOPORIFIC BRAHMS IN MIDORI RECITAL IN WEILL

by Terry McNeill
Saturday, April 23, 2016

California has long been a big part of Midori Gotoís career, and she now teaches and tours from the USC campus in Los Angeles. After never performing in Sonoma County, the violinistís area debut April 23 in Weill was a moderate success before an audience of 800 that included a large sprinkling of string players and local musicians.

The centerpiece of the physically diminutive virtuosoís program were the Schubert C Major Fantasie (D. 934) and the great first Brahms Sonata in G Major, Op. 78. With pianist ÷zgŁr Aydin Midori made the strongest impact with the Fantasie, a work in seven connected sections with brooding drama and touches of Hungarian motifs. The opening bars were played with the requisite mystery, eerie sound from silence, and the 25-minute work from 1827 unfolded in a true duet, the piano and violin parts intermingling with grace and at times operatic phrasing. It was chaste lyricism.

It was an underplayed and controlled reading, poetic and restful even in the fast passages. The balances were good and Midoriís spicatto bow technique was light and even. This is a connoisseurís piece, and was played as such. The violinistís tremolos echoed Mr. Aydinís sparkling up and down scales.

As with all the eveningís pieces Midori had a score at hand (save for the final two Tchaikovsky works) but seldom looked at it, and intonation throughout was impeccable.

In the Brahms that began the second half, the performance was at a high level but way less exalted than the Schubert. The violinistís interpretation of this potent Sonata, occasionally transposed for the viola or cello, was one of restraint rather than muscle, especially in the coda of the first vivace movement. As in the first theme of the composerís early B Major trio, this luxuriant coda should give the listener a little chill on the back of the neck, and here the playing lacked passion, projection and punch. It sang but never soared. Mr. Aydin was dutiful and clearly was poised to never overplay or be interesting, making the magisterial Brahms themes into salonstŁcke rather than ardor, which is what the violinist presumably wanted in a pianist. Cold and calculating, never captivating. Here Midori had a thin, silvery tone but no Brahmsian red blood.

All through this glorious Sonata slow tempos and small-scaled playing prevailed, the tradeoff of careful and certainly exquisite bow and fingerboard control trumping projection and excitement. If petite and soothing Brahms is of interest, this performance was a classic. If riveting and ravishing Brahms was desired, listeners in Weill Saturday night needed to look elsewhere.

The recital began with Bachís E Major Violin Sonata, BVW 1016, with slow-tempos and careful shaping of phrases with the emphasis on delicacy. The music seemed to glide by without much impact, but there were many lovely parts including soft double stops, subtle trills and a relaxed and ultimately convincing approach. The pianist never covered the soloist, but strangely I found myself wishing for the harpsichord rather than a modern, heavy legato piano part. That observation occurs rarely in music criticism.

The recital ended with two Tchaikovsky waltzes, the Valse Sentimentale (Op. 51) and the Valse Scherzo (Op. 34). Each was played with exceptional attention to nuance and probity, but again (especially in the Scherzo) with minimal sonic projection and only a modicum of excitement. Portamento in these romantic pieces is alas long out of fashion.

A standing ovation ensued, and one encore was forthcoming, a richly hued slow movement from Grieg. It was a highlight of the recital and the cynosure of Midoriís fame: perfectly fashioned violin phrasing and an infinite command of rarefied and individual bow technique.