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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Mastercard Performance Series / Saturday, April 23, 2016
Midori, violin; Ozgür 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 Goto’s career, and she now teaches and tours from the USC campus in Los Angeles. After never performing in Sonoma County, the violinist’s 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 virtuoso’s program were the Schubert C Major Fantasie (D. 934) and the great first Brahms Sonata in G Major, Op. 78. With pianist Özgür 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 Midori’s spicatto bow technique was light and even. This is a connoisseur’s piece, and was played as such. The violinist’s tremolos echoed Mr. Aydin’s sparkling up and down scales.

As with all the evening’s 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 violinist’s 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 composer’s 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 salonstücke 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 Bach’s 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 Midori’s fame: perfectly fashioned violin phrasing and an infinite command of rarefied and individual bow technique.