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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
OTHER REVIEW
Mendocino Music Festival / Sunday, July 10, 2016
Festival Orchestra, Alan Pollack, conductor. Stephan Prutsman, piano.

Pianist Stephan Prutsman

ANGUISH AND TRIUMPH IN MENDOCINO FESTIVAL'S BIG TENT

by Kayleen Asbo
Sunday, July 10, 2016

The Mendocino Music Festival is highlighting Beethoven this summer, and July 10’s program in the tent could have appropriately borrowed the subtitle from Jan Swafford’s 2014 biography of the composer, Anguish and Triumph.

The Festival’s second classical concert paired two Beethoven works with Tchaikovsky’s brooding Fifth Symphony in E Minor, Op. 64. It was an apt pairing, showing both sides of the two mercurial composers, each of whom were both plagued by acute despair, struggled through enormous life challenges, and used music autobiographically to wrestle with their demons and chart a course towards renewed hope and confidence.

The program had a rousing start with the jubilant finale of Beethoven’s A Major (Seventh) Symphony, Op.92. Written at the apotheosis of his fame and fortune, this symphony was during Beethoven’s lifetime one of the most celebrated and cherished of his compositions, with movements frequently repeated in performance, excerpted to stand alone, and even inserted into other symphonies. The brisk tempo and passionate, climactic crescendo (supported ably by the stirring tympani) set the tone for the concert: this would be an evening of bold gestures and dramatic contrasts.

Pianist Stephen Prutsman then performed the Beethoven Third Concerto, Op. 37, to exuberant applause. Clearly well beloved by the Festival audience, his affable smile showed him to be confident and at ease in approaching this pivotal work. Written in Beethoven’s “fate” key of c minor (the same key of his iconic Fifth Symphony), the dark and ominous opening was crisply articulated by the strings before the theme was boldly proclaimed in brass. Mr. Prutsman’s initial pianistic entrance stressed the heroic aspect of the composer’s musical personality before giving way to gossamer trills and delicate arpeggios. The alternating “velvet and steel” approach was particularly effective in the developmental section as a rising wind began to whip around the performance tent, adding outside drama. If technically there were some moments of stumbling in the challenging cadenza, there were also moments of great beauty, as when Mr. Prutsman lavished deep tenderness on the gorgeous second theme.

Though orchestra and soloist needed more communion and perhaps eye contact in order to be in sync with one another at the end of the pianistic runs, the conclusion of the cadenza brought them together. Beginning sotto voce they rose in urgent unison to deliver a stirring and effective climax.

As in the previous day’s concert of Bach, the most sublime moment of the versatile Mr. Prutsman’s performance was damaged by noise beyond his control. The opening of the pensive Largo was a soulful model of exquisite gentleness. Stretching the outer reaches of the score’s slow tempo and pianissimo markings, Mr. Prutsman poured his soul into the opening melodies. Tragically, the coughing, rustling and talking of the audience, combined with the mounting stirring of the wind rattling the tent, meant that some of the most delicate and inward moments that followed were simply inaudible. What was clear was the ethereal and shimmering Arpeggios of the middle section as a floating melody was passed lovingly back and forth between flutist Mindy Rosenfeld and bassoonist Carolyn Lockhart with grace and loveliness. The movement was brought to a serene close with almost hymn-like solemnity.

The playing in the concluding good-natured Rondo offered a peasant-like contrast to the tender fragility of the second movement. Mr. Prutsman showed the giocoso side of his pianistic personality with athletic energy, good humor and almost comedic dynamic contrasts. The finest ensemble playing of the Concerto occurred in the virtuosic finale, showing how capable Mr. Prutsman can be with sparkling passagework as the driving momentum of the coda brought the delighted audience cheering to their feet.

After intermission the Festival Orchestra took on the challenge of Tchaikovsky’s mighty Fifth. This piece was written in 1888 during a period of mid-life despair, and could be titled “Though the Dark Woods”. The repeated use of a “fate” motif is one of Tchaikovsky’s links with Beethoven. The persistent “march of doom” is re-iterated over and over, swelling and transforming to a harrowing and brilliant fanfare of brass and tympani before returning once again to darkness and obscurity. The orchestra achieved a beautiful tonal balance throughout, at times haunting, at other times blazing with power and passion. Once again bassoonist Ms. Lockhart stood out for her expressive playing.

The second movement begins with one of the most poignant horn soloes in all of the orchestral literature. The frequent swelling crescendos and unresolved harmonic sequences, a hallmark of the composer, were awash in swooning Romanticism.

The third movement (Scherzo, Pizzicato Ostinato) requires lightening orchestral quickness and exact precision in instrumental sections. Beginning as a graceful waltz, the scurrying passagework is played pianissimo in the strings and had echoes that are reminiscent of the lyric sweep that characterizes the composer’s Ballet “Sleeping Beauty” from 1890.

The finale transforms the “fate” motif almost violently into a major key. Here conductor Allan Pollack drew a shimmering sonority from the orchestra, building an accelerated momentum with playing that had intense energy and commitment. Rapid tempo changes were exact and the Symphony ended in a blaze of glory.

It has been twenty years since I last heard the Festival Orchestra, and it’s playing now is far more professional. Mr. Pollack was visibly pleased with the Festival Orchestra performance, beaming at the players between movements, and the ecstatic “bravos” from the audience were boisterous amidst the second standing ovation of the night.