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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.”