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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Mastercard Performance Series / Saturday, October 15, 2016
Philharmonic Baroque Orchestra, Nicholas McGegan, conductor. Robert Levin, piano

Robert Levin (left) and Nicholas McGegan in Weill Hall Oct. 15

BAROQUE NO MORE IN STIRRING BEETOVEN CONCERT IN WEILL

by Terry McNeill
Saturday, October 15, 2016

Seasoned listeners for Beethoven’s symphonies and concertos know that interpretations can follow contemporary fashion, from the heroic and sonorous grand manner readings of the late 19th and early 20th centuries to the architectural approach after WW II, and even conductor Roger Norrington’s recent sleek and fast renderings.

In Weill Hall on Oct. 15, conductor Nicholas McGegan fashioned persuasive readings of Beethoven's Sixth Symphony and third Piano Concerto with his Philharmonia Baroque Orchestra, an ensemble sharply reduced in size (30 musicians) from convention, and with soloist Robert Levin using an 1820-era fortepiano rather than the hall’s usual concert grand.

The Op. 37 C Minor Concerto occupied the entire first half and Mr. Levin’s performance captured the energy inherent in the composition that, unlike the composer’s later two piano concertos, never quite breaks out. Following the long orchestral introduction with fine clarinet (Bryan Conger) and flute (Janet See) playing, the piano’s reduced sound sparkled in fast runs but sporadically was lost in the sonic fabric. In comments to the audience Mr. Levin said he would discard Beethoven’s much-loved first-movement cadenza and would improvise one, as well as similar but shorter cadenzas in the second and third movements.

This he did artistically and as well he played through tuttis, something never seen (or heard, as the piano’s sound here was almost mute) in Weill. A soloist playing inside the orchestra fabric (Golden Age pianists like Hofmann and Busoni did this in movement-ending tuttis) is simply not done now, but with the fortepiano’s reduced resonance it made little difference. Mr. Levin played without pedal in the exposition and used little thereafter, highlighting left-hand sforzandos and arpeggiating chords that were not so indicated in the score but were deliciously effective. Mr. McGegan set a judicious tempo throughout.

Unexpected pianistic improvisations with lots of pedal continued in the entrancing Largo, only to be interrupted by a stuck key in the piano action, and while Mr. Levin provided witty remarks the Orchestra’s on-site technician fixed the mechanism and the movement started over. Featured here were snazzy rhythms and fast descending runs on top of the keys where the composer indicates an entire theme while depressing the pedal, and a distantly related key of E Major. Exquisite.

In the concluding Rondo there were more savory surprises with sharply etched dissonant seconds and new turns and agogics. Often the conductor looked at length over his shoulder at Mr. Levin, waiting for the extemporizing to end and to cue the orchestra to enter. It was a visual and sonic treat, and playing loyal in every way to Beethoven’s intentions. The last cadenza was gay and even coquettish, and again Mr. Conger’s clarinet solos were superb.

Following intermission the F Major “Pastoral” Symphony was played, Beethoven’s only symphony with a set literary program. However bucolic, Mr. McGegan’s tempos were hardly pastoral and he charged quickly ahead with little attention to ritards or spaces between long phrases. But make no mistake, the conductor was a master of small details in this extraordinary music and drew from the Orchestra playing of distinct articulation and luminous sound. The winds were captivating, especially oboist Marc Schachman and bassoonist Andrew Schwartz. Less impressive were wrong notes from the valveless horns, and often in runs they were unable to match tempo.

In the Andante, Mr. McGegan adroitly brought out the bird call flourishes that for me were mixtures of mockingbirds and thrushes, and the trading of wind phrases (Lars Johannesson’s piccolo, Mindy Rosenfeld’s flute, Mr. Conger’s clarinet) were always exemplary. In the Allegro third and fourth movements Mr. McGegan summoned dramatic contrasts and moved convincingly between agitated and slightly raw dances (“Merry Gathering”) to a musical thunderstorm of palpable ferocity. Weill’s orchestra clarity was in evidence, as was Kent Reed's timpani playing.

The final Allegretto was transitional and transparent with the dignified main theme played resplendently by the violins over a pizzicato line in bass and cello. It sounded strangely “modern,” certainly a tribute to the composer’s amazing skill at variation and creativity, and Mr. McGegan’s strict tempos and deft control.

It was a performance of clarity and vigor, and for the audience of 500 seated solely in the Hall’s orchestra section there was no reason to regret the absence of a numerically larger ensemble.

To the standing ovation no encore was offered.