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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...
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...
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...
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...
Recital
RISKY SPEED IN POTENT LUO RECITAL
by Terry McNeill
Sunday, January 22, 2017
Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing. Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the ...
Recital
COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL
by Nicki Bell
Friday, January 20, 2017
On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and el...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
RECITAL REVIEW
Green Music Center / Sunday, October 16, 2016
Robert Hew Morgan, organ

Stanford University Organist Robert Huw Morgan

MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER

by James Harrod
Sunday, October 16, 2016

Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period.

Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, BWV 552a and 552b; Trio Sonata No. 5 in C major, BWV 529; Fantasia and Fugue in C minor, BWV 537; Pastorale for Organ in F major, BWV 590; and two chorale preludes: “Schmücke dich, o liebe Seele”, BWV 624 and “Liebster Jesu, wir sind hier”, BWV 731.

Mr. Morgan performed this technically challenging program with an effortless, articulated touch on the two manuals and pedals. The artist’s articulation of the rapidly executed phrases was amazingly clear and even throughout the entire performance. He played Bach’s complicated ornamental figures so gently listeners might have believed they were only figments of imagination!

Bach’s wonderful E Flat prelude from the Third Part of the Clavier Übung opened the program grandly in the pompous style of a French entrée grandé overture. The E Flat fugue, in three parts, often known as the St. Anne, closed the program in equally magisterial style. The fugal sections are firstly a grand chorale, then a swirl of fantasy on a fragment of the same motif, and lastly an exuberant dance of triplets in 12/8 time.

Much could be said about the performance of each of these seminal works. All parts of this magnificent recital were played with authentic organ stop registration typical of Bach’s own time and with consummate skill. Mr. Morgan showed his appreciation for the Schroeder’s Baroque North German mechanical (also known as “tracker”) instrument by generously attributing all of the musical credit for the program to the organ, rather than to himself. He commented from the organ loft at the concert’s beginning that the instrument was an inspirational joy to play, but not always easy task to accomplish.

The nearly full audience instinctively knew that Mr. Morgan’s virtuosic playing would be wonderful on any instrument.