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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
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloistís role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
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. Chopinís G Minor Ballade hasnít been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethovenís...
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 MacDowellís To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
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...
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...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
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.