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Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
RECITAL REVIEW
Green Music Center / Friday, November 09, 2018
Peter Serkin, piano

Pianist Peter Serkin

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 approach to Mozart’s B Minor Adagio (K. 540) and the K. 570 B-Flat Major Sonata, and to Bach’s Goldberg Variations that comprised the second half. Current international Mozartians (Andras Schiff, Mitsuko Uchida) play with little damper pedal and brisk tempos, similar to more distant Mozart virtuosi Alfred Brendel, Paul Badura-Skoda, Lili Kraus, Emil Gilels and Walter Gieseking.

Mr. Serkin began by playing the lovely Adagio with a chaste tone and at a pace that at 15 minutes was many minutes slower than prevailing practice. He used large ritards and occasionally the musical line slowed almost to a vanishing point. His unique hand vibrato on key tops (his father Rudolf also did this) elicited comments from some of the 350 in the audience. And, no, the sound doesn’t change by key message, as once the wool piano hammer hits the string, the sound only decays.

Slow playing over 21 minutes in the Sonata highlighted the contrapuntal lines of the work, one of Mozart’s last big piano pieces. The pianist’s self effacing approach and intense focus worked best in the long and complex adagio where his attention to the smallest compositional detail was palpable. Small breaks in the sound (“luftpause” in German) bordered on affectation. The fermata on the penultimate chord must have lasted eight seconds.

In the allegretto finale Mr. Serkin surprised by finding a few inner voices but notes in scale playing were never distinct because of generous pedal application, and with such a pokey tempo (for an allegretto) the interpretation became a little mundane. Perhaps listeners in Weill might have thought Mr. Serkin’s approach to Mozart was limited by pianistic technique, but I think the result is simply how he feels the music, and the light he sheds on the composer’s genius. Certainly there was much to admire in such an interpretative concept, although with ponderous tempos there was danger that the musical line would be breached. It never was.

Bach’s towering Goldberg Variations (a sarabande with 30 variations) followed intermission, and began with a not slow setting out of the chaste theme, albeit with the pianist teasing the ends of phrases. In the nearly 50-minute traversal of the 1742 work Mr. Serkin again eschewed contemporary interpretations, choosing instead slow tempos with room for contrapuntal voicing and sporadic left-hand accents. He wrapped his arms around the Goldberg using warm pianistic colors, constant legato phrasing, softly arpeggiated chords that ended many individual variations, and accentuation of Bach’s piquant dissonances.

A shortcoming in this artistic conception was the potential for boredom, as the slow tempos and instrumental volume throughout the variations were similar, and in fact there wasn’t a strong forte all evening. In sum, Mr. Serkin’s self effacing approach to Bach was always interesting and authoritative, but for me ultimately unconvincing.

Silence in the hall lasted many seconds after the final soft unison g notes, the artist slowly lifting his hands and humbly acknowledging the standing ovation. No encore was offered or needed.

Classical Sonoma reviews rarely mention extra-musical items, such as artist clothing or interminable commentary from the stage, but the tall pianist was uniquely attired in a conventional vested business suit, pocket handkerchief and dark red tie, and sat almost motionless at his instrument.