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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.”