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Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petalumaís charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bellís virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bellís regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bellís sterling techn...
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 ...
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...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
RECITAL REVIEW
Mastercard Performance Series / Friday, February 02, 2018
Nikolaj Znaider, violin; Robert Kulek, piano

N. Znaider and R. Kulek Feb. 2 in Weill Hall (JCM Photo)

ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2

by Terry McNeill
Friday, February 02, 2018

Weill hall has mounted several exceptional piano recitals, with Garrick Ohlssonís titanic Liszt concert, and of course Lang Langís two insouciant but also compelling performances topping the list since 2013.

But arguably the virtuoso violinists have on balance been more impressive, and thoughts go back to memorable nights from Gil Shahamís six Bach works, Anne-Sophie Mutter, Christian Tetzlaff, Yu-Chien Tsong, David McCarroll, Alexei Kenny, Benjamin Bielman, Caroline Goulding, Vadim Repin, Sarah Chang and Itzhak Perlman, each reviewed at Classical Sonoma. So it was for Nikolaj Znaiderís Feb. 2 recital with the exemplary pianist Robert Kulek.

Mr. Znaider established an immediate rapport with the audience of 250, chatting about the weather, leaning down from the stage to offer a lozenge from his pocket to a coughing fan, and charmingly excusing a woman that fled with hall with a cell phone blaring.

Musical matters began with a beautifully balanced performance of Beethovenís G Major Sonata, Op. 30, No. 3. Itís easy to overplay this charming work, even with the selected brisk opening tempo, but the duo never fell into this error. As throughout the evening Mr. Znaiderís impressive control of pianissimo blended well with the pianist, with the latterís piquant sforzandos and dry arpeggios. Here Mr. Znaider did not show a rich tone, and with minimal vibrato it wasnít needed. The light touch continued through the tempo di menuetto, and in the finale allegro dynamics continued to be narrow, with the effect elegant. Clearly this duo had perfect ensemble.

Prokofievís D Major Sonata (Op. 94) followed, beginning with intonation problems, but the violinist quickly found his footing and focused on the opening moderato with a skittish clarity and a blend of the composerís unique sugary-tart harmonies. The bantamweight ending was lovely. The presto was played presto with quirky high-speed slides and off beat accents, but never went off the tracks. The long diminuendo ending the andantewas perfectly graded and deliciously drawn out.

Al of the composerís characteristics were on display in the finale Ė sarcasm, irony, humor. Mr. Kulekís stressed the dissonances and occasionally covered the violin line. They played a slow ritard before the big lyrical theme that emphasized the underlying sadness of the music. In sum, a vibrant and committed reading of a masterpiece, and for me the concertís highlight.

Franckís great A Major Sonata from 1886 should have been the capstone to the concert, and nearly was. The introductory themes were calm and happy and quite slow, with Mr. Znaider using a wider vibrato and was content to let things flow, with differences in repeated phrases. Mr. Kulekís arpeggiated chords were deftly played. The famous allegro had many felicities with pedal point at the bottom of piano runs and a big ending upward flourish. What was missing were clarity in the right-hand piano runs, some violin notes not attacked cleanly, and most telling a tad lack of intensity in this most vehement movement.

Mr. Znaider introduced the moderato with a story of his five-year old daughter, and played the music (starting in D Minor and ending in F-Sharp Minor) ravishingly, with surprisingly less vibrato and echoes of first-movement themes. Ensemble was tight. The concluding rondo had a judicious tempo that spotlighted the many modulations, and the sprint to the end generated a standing ovation. It was odd that the Franck was played with score, as were the other programmed pieces.

Beginning the second half were four of Shostakovichís Preludes from his Op. 34, transcribed by Dmitri Tsyganov. Hey were fetchingly performed, especially the 2nd (the popular Prelude, with a dry sound); the 3rd (a march with Mr. Kulekís accurate skips); and the 4th (contrasting acerbic and frothy interjections by the violin).

Two encores were offered: Brahms Second Hungarian Dance in a rollicking gypsy rhythm virtuoso romp that brought down the house, and a sultry slow Heifetz transcription with Mr. Znaiderís best schmaltzy double stops.