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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 / Saturday, April 21, 2018
Louis Lortie, piano

Pianist Louis Lortie

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 every contemporary piano recital.

Louis Lortieís April 21 Weill Hall recital featured Schubertís 38-minute G Major Fantasy Sonata, D. 894, for the entire first half. Mr. Lortie gave the work a straightforward interpretation with a careful development of the long thematic lines. There were many small variations in dynamics in the opening molto moderato and in general a robust approach to phrasing and tempo. The playing had balance and, when needed, thrust. The andante was played lyrically and at time ďbouncyĒ with subtle adjustments in tempo, and the menuetto was played as a lively song, sunshine replacing the previous drama.

The long road to the finish underscored what musicians often say about the Schubert sonatas: itís a heavenly length, and itís not the musicís immediate impact but the journey that in the end counts. I thought it slightly risky to program the piece, which is exciting but difficult to sustain, but the audience of 350 was convinced and provided the artist with extended loud applause.

Four Chopin works occupied the second half, two Mazurkas and two extended but different dramatic compositions, both composed in 1841. Here the pianist was less successful in getting to the heart of Chopinís music as did he so well with the Schubert.

Each Mazurka, the F Minor (Op. 7, No. 3) and the Op. 59, No. 3 (F-Sharp Minor), was played in a big-boned style with little attention to internal phrase rubato and the little shifts in instrumental color. This isnít saying that the dance character of both wasnít displayed, but that the interpretations tended to be overly forceful and lacking in repose and charm. Polish dances do contain charm as well as Slavic effervescence.

The F Minor Fantasy performance was a program highlight, as Mr. Lortieís energetic mood captured the musicís demonic character, and he gave each modulation in the march-like passages individual and potent sound. Occasionally the Hallís acoustic shortcomings in fast legato passagework made the pianistís runs blurred, but his admirable octave technique never failed him. The chorale was played in a beautiful contrast, and the return of the main theme was carried with left-hand pedal point and a tiny pesky memory lapse. Overall it was a rushed and over-pedaled reading that was also everywhere dramatically convincing.

Ending the recital with a great Polonaise, in this case the F-Sharp Minor Op. 44, was a surprise programming choice and not an ordinary recital closer. It was played with firm rhythmic drive and had a majestic climax and lots of volume.

Returning to the stage Mr. Lortie continued the afternoonís fast virtuosity with two Chopin studies, the Op. 25 A Flat (ďAeolian HarpĒ) and the popular showoff C-Sharp Minor, Op. 10, No. 4. The first encore missed the elegance and craft of a slower tempo, and the latter demonstrated the artistís penchant, at lest at this recital, for finger agility and velocity in Chopinís marvelous music.