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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. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
SYMPHONY REVIEW
Mastercard Performance Series / Friday, November 03, 2017
Marinsky Orchestra, Valery Gergiev, conductor. Denis Matsuev, piano

Conductor Valery Gergiev

TO RUSSIA WITH BRILLIANCE

by Terry McNeill
Friday, November 03, 2017

Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine orchestra. On this day it was the legendary Mariinsky Orchestra from St. Petersburg, under the baton of international star Valery Gergiev. Qualms were put to rest at the outset.

The answer for a paltry audience of 500 was joy and a huge ovation at the conclusion of Prokofiev’s G Minor (No. 2, Op. 16) Concerto. This work was absent from programs for many years, though the wonderful Jorge Bolet championed it and recently Yuja Wang has taken it up. The technical demands for the pianist, especially in the first movement cadenza but also throughout, are ferocious, and stamina is needed as well as speed and instrumental volume. Mr. Matsuev didn’t shy away from an immense and raucous sound, and he nailed the breakneck right hand skips and thunderous repeated bass chords with seeming ease. But certainly it wasn’t an easy matter to not be covered by the 75-piece Russian orchestra playing at full tilt. A different part of the artist’s technique was evident when he captured a far away mystical and faint sound at the reappearance in the coda of the work’s first theme.

In the scherzo’s perpetuam mobile and the intermezzo his playing was seldom below a mezzo forte, though the Orchestra’s low string sound was always husky. Mr. Matsuev uses shoulder and arm weight and ample but quick damper pedal to underscore the composer’s driving rhythms and deft references to parts of the First Concerto, written when a student and about a decade prior to the G Minor. The finale was more of the same thick and dense sound, rolling along at a fast clip of formidable virtuosity. He seems happiest when the music needs fleet fingers. Mr. Gergiev’s conducting faultlessly followed every demand in the score, and the Orchestra had the right blend of Prokofiev’s motoric momentum and raw dissonance.

Recalled to the stage Mr. Matsuev played as an encore a parched and super fast finale (allegretto) to Beethoven’s “Tempest” Sonata, Op. 31, No. 2.

Following intermission was the highlight of the evening, an amazing reading by Mr. Gergiev of Strauss’ turn-of-the-20th-Century tone poem Ein Heldenleben. Op. 40. From the opening chord growl of the bass and cello sections, the sound driving Weill’s mellow wood surfaces to perfection, the playing made it clear that a special musical event was to unfold.

Tempos in the five sections were brisk with section clarity brilliantly showcased, so different from the Concerto. Mr. Gergiev’s famous conducting technique with fluttering hands and seemingly awkward movements around a nonexistent podium, is sharply different from the “control” approach of conductors such as Bruno Ferrandis, Michael Tilson Thomas and Alan Gilbert. But make no mistake, control he has, and he crafted an orchestral fabric of great beauty and intense communication.

It’s impossible to single out the ensemble’s principals in the Strauss, as no names were in the printed program, and there was no identification in the Mariinsky’s Russian websites. However, I would be remiss not mention the concertmaster’s soaring solos; the elegant and commanding oboe, clarinet, flute and bassoon playing; and the superb unisons in the horn and trombone sections. Mr. Gergiev paid little attention to extended romantic ritards, preferring to use perfectly placed cutoffs to underscore drama, especially in the Hero at Battle section. The final ascending phrases in the solo violin were elegantly shaped by the conductor, and the long fermata that ended the 42-minute work that for me could have gone on for minutes.

This Ein Heldenleben was a champagne orgy of orchestra sound, perhaps surpassing even the glorious concerts in Weill years ago of the Russian National Orchestra, the San Francisco Symphony and the Vienna Philharmonic.

The tumultuous applause produced an encore, a short brassy fanfare from Wagner’s opera Lohengrin.

Shostakovich’s E-Flat Major Symphony, Op. 70, opened the program and quickly disclosed the Mariinsky’s virtuosity. This Haydnesque Symphony is not to everyone’s taste, and some find it frivolous and overly brittle. I found the performance marvelous, the music fitting the St. Petersburg forces like an old shoe. The orchestra played it with great fervor and panache. Piccolo and flute playing was exemplary, as was cohesion in the upper strings. And the string mass, with second violins stage left, was rich and commanding.