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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
SYMPHONY REVIEW
Santa Rosa Symphony / Sunday, November 06, 2016
Bruno Ferrandis, conductor. Orion Weiss, piano

Pianist Orion Weiss

ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT

by Steve Osborn
Sunday, November 06, 2016

Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill.

Weiss is a no-nonsense pianist. He seated himself at the piano, gathered his energies, and then launched full bore into the finger-crunching opening runs of the Bartók. He spent nearly all his time staring at his hands, as if guiding his fingers with his eyes rather than his arms. The speed of light seems like the most plausible explanation for the astonishing rapidity and precision of his attack. He was able to control the resonance of the piano with finger speed as much as pedal. In one soft passage, he achieved a haunting effect by striking the keys with so much speed that the notes died away as soon as they sounded.

The Bartók requires a considerable amount of fire from the soloist, an element that Weiss has in profusion. Although he was occasionally drowned out by the winds in the Allegro first movement, he flamed forth time and again, fully igniting near the end with an incredibly fast cadenza.

The entry of muted strings in the second movement brought an entirely new world of sound, to hypnotic and engaging effect. Weiss arose out of this background by producing tremendous volume from his instrument, accented by a beguiling duet with tympani. The tympani featured prominently in the final movement as well, along with a booming bass drum. Much of the movement is given over to a vigorous call-and-response between piano and orchestra. Weiss not only matched each orchestral outburst but kept raising the ante all the way to the transcendent conclusion.

The opener, Liszt’s symphonic poem “Les Préludes,” stood in pale contrast to Bartók’s masterpiece. Liszt’s orchestration is competent, but his melodies are insipid and his development evanescent. Nonetheless, the orchestra played flawlessly under conductor Bruno Ferrandis, with elegant solos from the French horn and oboe. After an interminable series of runs and arpeggios, the melodic material does coalesce near the end with a striking nine-note descending figure from the brass, impeccably executed by the orchestra’s trumpets and trombones.

Schumann’s second symphony, which occupied the latter part of the program, is a standard of the repertoire, and with good reason. Every movement has striking melodies and motifs, and they flow together with consummate grace. The orchestra played superbly, but special praise must be given to the string section, which negotiated Schumann’s roller-coaster runs with accuracy, unanimity and feeling. Nary a wrong note was to be heard.

In the first movement, Schumann uses a dizzying array of short motifs to build a central theme. Ferrandis brought out the abundant phrases and syncopations, nowhere more so than in an extended passage for strings and clarinet. The violins shone in the second movement, a playful Scherzo that requires nearly perpetual motion, capped off by a bracing sprint to the finish.

The players caught their breath in the subsequent Adagio, a subdued and calming interlude that invites rhythmic flexibility and heartfelt playing, which were everywhere in evidence. Most notable was the beautiful Bach-tinged fugue in the middle.

Ferrandis set a brisk tempo for the Allegro molto finale, resorting sometimes to compact angular motions instead of a more relaxed fluidity. However the beat was conveyed, the musicians kept up the pace while deftly handling repeated sforzandos and orchestral swells. Each idea led seamlessly into the next and propelled toward a triumphant ending — triumphant not only for Schumann, but also for Ferrandis and the Santa Rosa Symphony, which delivered an outstanding performance.

[Reprinted by permission of San Francisco Classical Voice.]