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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...
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...
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...
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...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Recital
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 ...
Recital
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 el...
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.