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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
RECITAL REVIEW

Steven Lin addressing Oct. 21 his Schroeder Hall Audience

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 the young Curtis Institute-trained artist played a conventional but thoroughly exciting concert that drew two standing ovations. He began with a piece that was in every amateur and professional pianist’s repertoire 120 years ago, but hasn’t been heard here for years - Mendelssohn’s Op. 14 Rondo Capriccioso. Mr. Lin teased the music with lots of little tempo changes, and gave an initial impression that he was going to be happiest this afternoon when his fingers were busiest. Part of the coda was played piano and he used the shift pedal over long stretches. It was good to hear an old warhorse played with such fervor and singularity.

Arrangements of four Gershwin Broadway tunes followed, and passed without much notice. These were not the familiar Earl Wild transcriptions, and I suspect given the bouncy and colorful character they were Mr. Lin’s creations. The best playing came in the slam bang “Oh Lady be Good” and the palm court waltz nature of “Strike Up the Band.” Gershwin’s immense popularity had little effect here.

Schumann’s eight-part Kreisleriana (Op. 16) was preceded by remarks from the stage by the pianist, as there were no program notes. Mr. Lin exhibited a charming connection with his audience, but segments of his descriptions and analogies seemed mostly sophomoric. The playing proved otherwise, as in the beginning ausserst bewegt his rhythmic authority and tone color generated by constant shift pedal use promised an exciting traversal of the 1838 work, written according to Mr. Lin in four days.

In this often bass-heavy music Mr. Linn made the most of orchestral sonorities in the sehr aufgeregt section and lots of muscular left-hand sforzandos. His octave and double-note technique was impressive throughout, and he provided lovely tonal control in the B Flat sehr langsam. The playing emphasized counterpoint and sporadic inner voices, and he pushed the tempo in sehr rasch to generate raucous effects. A light touch was heard in the finale with its offbeat accents, and the last chords were played softly, not staccato and with pedal.

After intermission remarks from the stage regarding humor in Beethoven’s music led into an ingratiating performance of the E-Flat Major “Hunt” Sonata, Op. 31, No. 3. Mr. Lin is right, as there is ample humor in this Beethoven, as well as the nearly contemporary C Major “Waldstein” Sonata’s first movement. His tempo in the opening allegro was decorous, in the mean between Radu Lupu’s recent soporific playing in Napa, and a more quick nervous speed. The pianist tended to be fussy and teasing with the rhythms, and used long fermatas at intervals, but his rapid-fire scales, shaped trills and passagework were immaculate. Staccato technique in the scherzo was equally impressive.

In the sprightly finale (presto con fuoco) the performance was again exciting but also idiosyncratic, and at places overplayed and inchoate. Contrasts were underscored at the expense of balance. That said, it was a virtuosic reading with distinct individuality and interest, and he clearly loves the work’s gaiety.

The recital closed with Liszt’s Mephisto Waltz No. 1, S. 110. There are three additional Mephisto Waltzes, written late in the composer’s life with complex harmonies, but virtuosos shun them and always opt for No. 1. Coincidentally I heard in an Oct. 12 recital the fastest Mephisto One (with light pedal) in my experience, and at times Mr. Lin’s speed approached the one from a Russian pianist in South Carolina. Mr. Lin captured the picturesque nature of the music in 11 minutes, and his right-hand skips, husky chord playing and stamina never failed him.

A standing ovation engendered more stage remarks, this time concerning a California couple that had helped Mr. Lin’s early career, and he dedicated his performance of Debussy’s Claire de Lune (from Suite Bergamasque) to them. The playing of the encore had a limpid tone and a stately tempo, and was a happy reprieve from the whirlwind force of the Liszt.