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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
SYMPHONY REVIEW
Green Music Center / Sunday, March 25, 2018
Charles Richard-Hamelin, piano

Charles Richard-Hamelin in Schroeder March 25 (JCM Photo)

HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL

by Terry McNeill
Sunday, March 25, 2018

Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely played work (Ligeti, Anton Rubinstein, Alkan, Field). Mr. Hamelin programmed just conventional Schumann and Chopin. Another risk, and with easy comparisons with more established pianists than the 29-year old competition winner.

What was not risky was Mr. Hamelinís musical approach, as he was unconventional in a boisterous and dramatic mood during almost all of the Schumann Op. 18 Arabesque and C Major Fantasia, and the Four Chopin Ballades. He played the C Major Arabesque with the cantabile the 1839 work needs, and used the shift pedal often to color the sound and the two contrasting episodes.

In the famous Fantasia the long first movement unfolded in dramatic fashion, and Mr. Hamelin made it harmonically clear that the key never really resolves into C Major until the last page. Oddly he played three final soft chords where the score indicates only two. An occasional bass doubling again pointed to the workís complex harmonic structure. It was a powerful reading but never willful. In the marvelous March movement Mr. Hamelinís pianism was convincing in its energy but less so in tonal beauty. But itís that kind of movement, and he three times doubled left-hand chords for potent interest, the last before the legendary contrary-motion skips in both hands (which he nailed without apparent fear).

Lovely modulations were highlighted in the dreamy finale, played more rapidly than conventionally, and the small climaxes were carefully shaped. The second chorale theme had beauty, with balanced chords before the last long section began. The three pianissimo chords that end the piece were masterfully even and at soft volume heard to the back of the Hall.

Following intermission Mr. Hamelin again spoke at length to the audience of 150, sometimes indistinctly though using a microphone, and began with the ever-popular Chopin G Minor Ballade, Op. 23. There was a natural rise and fall to the phrasing and general sonic muscle, though the right hand octaves in the repetition of the second theme were played too fast for clarity. This Ballade has a narrative backbone that Mr. Hamelin set out well. Big boned playing continued in the F Major Ballade, a piece where cascades of sonorities were effectively delivered, and the carnage of the final measures led into a quiet and simple ending. Momentum from the previous two Ballades carried over to the A Flat, the most congenial of the four, and was a little out of place. Mr. Hamelin used a lot of damper pedal and pushed the tempo. He is not a colorist and here energy tempted lyricism.

The recital ended with the F Minor Ballade, with the Schumann Fantasia one of the peaks of 19th-Century piano literature, and when played by a seasoned virtuoso it is a cosmos of emotions in fewer than ten minutes. Mr. Hamelinís conception this afternoon was conventional but never routine, and there was abundant power and voice leading. The tenor section was taken slowly. Before the tumultuous coda the pianist avoided extending the bottom C Major Chord with pedal (the Slavic tradition) prior to the five soft anticipatory chords, and signaled the rushed drive to the finish with impressive fury and clarion speed. On balance it was the best local set of Chopin Ballades since Lang Langís Weill Hall 2013 opening concert, and the more recent Nancy Lee Harper traversal for Concerts Grand.

One encore was offered, a transcription (Wilhelm Kempff?) from Bachís keyboard Concerto in F. It was sensuously played, and a warm change from tempestuous pianistic brilliance of the glorious Ballades.