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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
RECITAL REVIEW
Mastercard Performance Series / Saturday, October 22, 2016
Denis Matsuev, piano

Pianist Denis Matsuev

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 recital that he would very well be another in a long line of fleet and heavy-handed Slavic pianists. And so it was mostly to be.

Curiously the program’s first item, Beethoven’s autumnal A-Flat Major Sonata, Op. 110, received the night’s most convincing reading. Bounding on the stage Mr. Matsuev went straight to the piano and straight to a quick but workmanlike interpretation of the work, the composer’s penultimate piano sonata. Speed of conception and attack were to be the evening’s norm, but here the non-romantic interpretation had interest and clarity.

In the opening Moderato there was deft left-hand chord voicing and the ritards were in the right places, but never in the unexpected places. An occasional note was held into a following phrase but the artist seldom lets much air into a phrase division, preferring always to forge ahead. The Fugue was a thoroughly modern reading, masterly without mystery, with no relaxing of tempo and no ritard in the final ascending phrase to the final chord.

A standing ovation from the audience of 600 ensued (after the first piece!) and the artist then launched into Schumann’s Symphonic Etudes, Op. 15. Mr. Matsuev was it his best in the strong rhythmic sections of the 12 studies, wide left-hand skips and in staccato chord phrases. He played the often-omitted five etudes (variations) with a warm touch. Lavish damper pedal was used, underscoring sonic contrasts, but the music had no inner voices, repose or charm. The pianist never seems to slow down, and the potent playing in the ending march produced another standing ovation.

Liszt’s First Mephisto Waltz, a virtuoso specialty that was an odd choice to start the second half, was beautiful in slow sections but cacophonous in the fast ones. It was playing of prodigious speed and power and the contrary octaves at the end were the fastest I have encountered in many years. It’s that kind of piece, but a greater musical impact could have been made with Liszt’s later and cryptic Mephisto Two, Three or Four, or the Bagatelle sans Tonalitie. Pieces of depth and sacrament.

A bon bon before the onslaught of Prokofiev’s Seventh Sonata, Tchaikovsky’s poetic Op. 72 Meditation, was overplayed and too operatic. The Prokofiev B-Flat Major was the expected barnburner piece, arguably the most popular piano sonata of the 20th Century. Mr. Matsuev perfectly caught the snarl and mechanical drive of the first movement Allegro Inquieto. It was a fast, loud and intensive approach to music that mostly demands such treatment.

The playing of the plaintive “rose between the thorns” Andante was brisk and never broke the original rhythm, but there was little notice of the lush harmonies and pensive theme. The ending with its enigmatic soft right-hand chords was haunting.

Mr. Matsuev then charged into the brilliant Precipitato with headlong abandon and Forte chords from the opening racehorse bell. It was a muddy but explosive interpretation that rose in an accelerated roar to four gigantic B-Flat chords. It brought down the house and brought the pianist in a dramatic physical leap from the piano bench to the front of the Weill stage. It was showy and acrobatic, an impressive feat for a husky physique that resembles the artist’s late compatriot Emil Gilels.

From the three encores two were memorable for opposite reasons. Liadov’s Musical Snuff-Box imitates a music box by tinkling in the piano’s upper register, and Mr. Matsuev played the old chestnut with chaste tone and limpid phrasing, teasing the theme with care. Then another volcano erupted, a five-minute work that was first Fats Waller, then Keith Jarrett, and finally a tsunami of flying and noisy figurations and clangorous chords. I have no idea about the identity of the composer, and it was probably the pianist.

An analogy to Mr. Matsuev’s recital might be the famous Vladimir Horowitz 1928 American debut concert performance with Tchaikovsky’s B Flat Minor Concerto. Backstage following the event Rachmaninoff approached Horowitz and said to him (In Russian) “It was very loud, and it was very fast, but it wasn’t very beautiful.”