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Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
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.