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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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 REVIEW
Green Music Center / Sunday, March 19, 2017
Haochen Zhang, piano

Pianist Hauchen Zhang

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 performer in his March 19 recital in Schroeder Hall.

The pianist began a demanding concert with two big Schumann works of opposite emotional content. The Op. 15 Kinderszenen came first and received a performance that stuck closely to the programmatic connotations of the 14 individual pieces. Longer than expected ritards and taking all of the repeats underscored sober and carefully crafted playing, and sometime Mr. Zhang paused between sections, and sometime with pedal he connected them. The slow ending of Träumerei was enchanting.

It was the best local performance of Kinderszenen since Valentina Lisitsa’s traversal seven years ago in the Concerts Grand series.

The recital’s finest playing came with the Symphonic Etudes, Op.13, written in 1834 and played here without the whole additional set of five posthumous variations. Mr. Zhang did surprisingly insert the C-Sharp Minor Variation (of the five) between Etudes 2 and 3, and etherial D-Flat Major later, and and played both beautifully. He commanded in the Schumann a formidable octave and staccato chord technique, and overlapped phrases with the damper pedal, occasionally holding back at the end of slow phrases.

In the penultimate variation (andante espressivo) he used left hand pedal point notes and produced a lovely vocal quality (tenor?) singing line, and in the lengthy final D Flat variation he played the two repeats. Here he pushed the tempo and piano volume to the instrument’s limits, but clearly Mr. Zhang sees the Etudes as a brawny work. The applause from the 110 in Schroeder was fulsome.

In the second half the artist sharply changed the program, dropping the ultra Romantic Liszt Harmonies du Soir and the Bartok Sonata, and instead of a Janacek work he began with two of Liszt’s Etudes Transcendals – Feux Follet (Will of the Wisp) and Chasse Neige (Snow Storm). Both received virtuoso performances, and Mr. Zhang seemed happiest with music that required lots of exceptional finger technique. Fast cross-hand double note playing characterized the first, and in the second he built a ferocious storm of volume with left-hand tremolos and impressive endurance.

Relief from the storms came with Janacek’s In the Mists, a four-movement 1912 work where Mr. Zhang produced veiled floating chords and subtle control of pianissimo. In the andantino the playing of the simple repeated theme was elegant. The music was enveloping melancholy.

Ginastera’s iconic First Sonata closed the program, a work from 1952 that expands on the insistent design of the Danzas Argentinas composed 15 years earlier. Mr. Zhang owns the piece, and gave it his expected roaring motor excitement. He brought out the jazz riffs and his double octaves spread way apart were thunderous and accurate, or at least they probably were in the sonic din of the final percussive toccata. Through all this ostinato playing the rhapsodic adagio was almost bucolic. I have not heard louder piano playing in Schroeder than the pianist produced in the Ginastera.

A standing ovation recalled the artist, and the solo encore was the Arkady Volodos transcription of Mozart’s K. 331 Rondo (“Alla Turca”). The transcription is a virtuoso stunt, and recalled Lang Lang’s encore carving of Chopin’s “Minute Waltz” at the Weill Hall inaugural concert. At that recital the Classical Sonoma reviewer wrote of the encore being “deliciously tasteless.” Here the bombast wasn’t tasteful at all.

Lee Ormasa and Gerald Blodgett contributed to this review.