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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
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
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.