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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...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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.