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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Green Music Center / Sunday, January 22, 2017
Wei Luo, piano

Wei Luo Playing Shostakovich Jan. 22 (J. McNeill photo)

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 wonderful set of 24 that are played often, and by such disparate artists as jazz pianist Keith Jarrett and the Russian Tatiana Nikolayeva (the dedicatee).

Ms. Luo chose the D Major (No. 5) and the grandiose D Minor that concludes the set. The first received a jaunty reading that emphasized the rippling chords in the treble and subtle right-hand voices that were well mated to the hall’s warmly voiced piano. In the fugue repeated notes were played with just the right dry touch that moved to a forceful end. But no less forceful was the great 24th Prelude and Fugue, starting with sonorous bell notes and moving inexorably to the big-boned fugue of considerable power. A mature and potent interpretation.

Beethoven’s C Major “Waldstein” Sonata should have been the recital’s capstone, but was not, as Ms. Luo chose a tempo that constantly blurred passage work and dynamics that overwhelmed the Sonata’s humor and classical impact. It was predictable playing for a young artist – minimal attention to ritards, over pedaled and with scales where individual notes sank into a sonic bog. Wit in this intricate movement was absent.

The playing in the chaste Adagio was also predictable, slow to the point of losing focus and too loud at the one place that builds a climax.

Pianists all play the opening of the marvelous Rondo (save for Hofmann’s stunning interpretation recorded in 1938) in the same soporific way, and Ms. Luo followed this practice. And she took the conventional path of blurring the sound with no pedal change in the fifth measure, giving the swirling phrase a wash of color at the expense of clarity. By punching out so many chords so loudly the humor of the Rondo was lost, and the modestly sized Schroeder Hall was overwhelmed with percussive and forte-fortissimo sound. Virtuosity in Beethoven doesn’t always have to be stridently tumultuous.

The long trills were played well and the artist chose to play the glissando octaves in two hands as fast scales. Applause from the audience of 125 was polite but not extended.

Following intermission playing of a different sort came in three Book I selections from Albéniz’ masterful Iberia. “Evocación” was carefully phrased and unfolded without hurry and with rich tone color. “El Puerto” was also evocative along with a “skittish” character, wholly suited to the piece. Rhythmic variety and a husky sonority were present in the concluding “El Corpus en Sevilla”. There was no applause, the audience perhaps simply happy to hear so many provocative details in this mesmerizing Spanish music.

The Albéniz is far harder to play than Prokofiev’s B Flat major Sonata (No. 7) that closed the program, and the Op. 83 Sonata is arguably the most played 20th Century piano sonata. Dennis Matsuev presented a volcanic rocket-speed performance of it in Weill several months ago, and Ms. Luo began the opening march loudly but with the tricky rhythms well in place. The composer was said to have wanted most of his Sonatas played with machine-like rhythmic control, and Ms. Luo has this in abundance.

The slow movement (maybe a rose between two thorns?) had the requisite mystery only at the end, and the bass often covered the right hand tune. The famous Precipitato was played as perpetual motion and it was easily enough to generate palpable excitement. It’s that kind of piece, raucous with the punctuation of four furious B Flat ending chords.

Ms. Luo offered one encore, Rachmaninoff’s transcription of his Vocalise, Op. 34, No. 14. Her interpretation of this short melancholic song was sobering, convincing and beautiful.