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Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
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.