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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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.