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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
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.