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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...
RECITAL REVIEW
Mastercard Performance Series / Friday, January 20, 2017
Emanuel Ax, piano

Emanuel Ax Acknowledges Applause in Weill Hall Jan. 20 (K. Stewart Photo)

COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL

by Nicki Bell
Friday, January 20, 2017

On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and elegance in elegant pianism.

Mr. Ax is a sensitive and brilliant artist that has made a substantial career playing mostly music he loves, the European classical and romantic repertoire. This performance’s first half was concerned with the way Schubert and Chopin explored the Impromptu form. Though the name implies improvisation, each of the eight Impromptus are in a well-organized A-B-A form. Schubert’s four Op. 142 Impromptus were composed in 1827 in Vienna, and taken as a group are almost like the movements of a sonata. 

The opening and lengthy F minor was characterized by great drama and melting delicacy, which gave a flavor of what was to come. Mr. Ax is a master at shaping pianistic tone and shaping time with subtle flexible rhythms. The A-Flat Impromptu, an Austrian dance with disarming simplicity, is a minuet with a flowing trio, and the B Flat is a lovely theme and variations based on incidental music (“Rosamunde”) Schubert wrote for a now forgotten play in 1823. The five variations have great contrast and are eloquent expressions of sorrow and happiness. The lyrical sense of a song is never lost. The concluding F minor Impromptu recalls a gypsy dance, full of virtuosity, flights of scales and joy, and the artist’s Staccato touch was a marvel.

The four exquisite Chopin Impromptus were next.  The Op. 29 (A Flat major) was played with glittering scales and graceful outer sections that contrasted with a middle soulful lyrical section. The F Sharp Major (Op. 36) was for Mr. Ax a gentle nocturne with a dramatic center. The G Flat Major (Op. 51), the least often performed, was given an elegant interpretation that caught the Impromptu’s slightly sad character and had smooth legato thirds and sixths. The Fantasy Impromptu in C Sharp, Op. 66, had a brilliant perpetual motion configuration in the outer sections and a spacious, poignant melody in the middle (similar to Bellini’s bel canto arias). This has become one of Chopin’s most enduringly popular works. 

Schubert’s second Klavierstücke, D. 946 in E Flat, opened the second half. It was a world unto itself, alternating themes of tender sweetness and dark brooding and unsettled mystery. Edited by Brahms, this piece was not published until long after Schubert’s death, and Mr. Ax’s mastery highlighted the syncopations and interesting harmonies.

The program concluded with Chopin B Minor, Sonata Opus 58. Here in the Allegro Maestoso was fire and brimstone transforming into welling lyricism that made one want to hold one’s breath. It was at times poignant and at times ecstatic, ruminating, thoughtful, then explosive. It was a big bold performance, melodically inspired again by bel canto opera signing. The four movements contained powerful contrasts. The Scherzo’s scampering lightness gave way to a dreamy and profound Largo, the heart of the work composed in 1844. The last movement was a sparkling heroic dance building to a magnificent frenzy, a massive amount of sound that had orchestra sonority.

An ecstatic audience of 750 jumped to their feet in applause, and kept bringing Mr. Ax back to the stage for only one encore, the elaborately ornamented Chopin F-Sharp Major Nocturne, Opus 15.

Sonia Tubridy and John Boyajy contributed to this review.