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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 itís 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 Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís 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 Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís 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 Rossiniís ďWilliam TellĒ 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 Philharmonicís 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...
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.