Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
RECITAL REVIEW
Mastercard Performance Series / Friday, April 21, 2017
Yefim Bronfman, piano

Pianist Yefim Bronfman in Weill April 21

SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL

by
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 evocative of the game app’s hypnotic music loop. The Suite, originally conceived by Bartok as a five movement piece, was shortened by the composer to four movements, as Bartok had written an andante which was dropped and later published separately.

Bartok described how he was attempting to move away from the post-Romantic style in writing this piece:

"It is based entirely on original themes of my own invention. When this work was composed I had in mind the refining of piano technique, the changing of piano technique, into a more transparent style. A style more of bone and muscle opposing the heavy chordal style of the late, latter romantic period, that is, unessential ornaments like broken chords and other figures are omitted and it is more a simpler style."

Mr. Bronfman, no stranger to Bartok, having recorded all three of the Bartok piano concerti, showed his command of this early 20th Century piece. The arc of the composition was revealed as a carefully articulated allegro that provided the foundation upon which the rest of the performance was built. With each passing movement the percussive qualities of the piano were increasingly highlighted. That said, there was no loss of lyrical expressiveness in the process - a difficult balance that Mr. Bronfman achieved to the delight of the audience. It is likely some in attendance were encouraged to further explore Bartok’s demanding piano music as a result.

Schumann’s B-Flat Major Humoreske, Op. 20” followed the Bartok with its lyrical and provocative contrasting romantic statements. About it the composer wrote to the then Clara Wieck, who he would later marry:

"All week I’ve been sitting at the piano and composing and writing and laughing and crying, all at the same time. You will find this beautifully illustrated in my Opus 20, the great Humoreske."

There is much to discover in the “Humoreske” and Mr. Bronfman revealed many nuances and surprises other pianists might have overlooked. He kept breaks between sections to an absolute minimum, perhaps in an effort to provide a connectedness or continuity not otherwise reflected in the content of the score. This approach was frustrated at one juncture by a Weill Hall audience predilection to frequently applaud between movements that the artist simply ignored and played through. Unfortunately, Mr. Bronfman’s stage composure was again tested when during the same piece someone chose to exit the Hall with loud stomping across the wooden floor. Other than a quick turn of his head to see what was making the racket the playing was uninterrupted. Luckily, neither of these distractions adversely impacted what must be described as a transcendent reading of this challenging virtuoso work.

After Intermission, the small Weill Hall audience was treated to Debussy’s impressionistic “Suite Bergamasque” from 1905, which includes the popular “Clare de Lune” (Moonlight) third movement. The Suite was inspired by the French poet Paul Verlaine’s poem of the same name. If there was a tense moment in the program, this was it. In the busier sections there were no pianistic problems to be solved, as Mr. Bronfman wove a dreamy and enveloping sound. However, in the Suite’s quieter sections it was like watching a circus high wire act with butterflies in one’s stomach. The playing in those parts seemed overly tentative as Mr. Bronfman sought ever so carefully to apply just the correct amount of pressure to the piano keys to produce the desired sonic result. It was successful and the lovely moments quietly passed.

The program concluded with Stravinsky’s adaptation for piano of pieces from his 1921 Petrouchka ballet: “Three Movements from Petrouchka”. The ballet’s characters are marionettes with the Petrouchka character being similar to Punch of the “Punch and Judy” fame. Written for pianist Arthur Rubinstein, with Stravinsky admitting the complex composition exceeded his own skills as a pianist, there are no shortage of pianistic challenges to the piece where a pianist’s technical skills are battlefield tested. At certain points that otherwise might be cacophonous moments, an overlying “shimmering” effect was magically produced by the pianist. Mr. Bronfman not only rose to the challenge but added robustness to the performance that caused the audience to jump to their feet in appreciation as they acknowledged his formidable artistry.

Schumann’s C Minor Arabeske, Opus 18, a favorite Horowitz encore selection, was a beautifully played encore here, and a delight to an enthusiastic audience.