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Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
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...
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.