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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
REVIEW

Philip Glass at his piano

BEYOND THE SOPORIFIC

by Terry McNeill
Thursday, February 19, 2009

Reactions from listeners to the music of Philip Glass usually are of two types. One group flees quickly from the hall and concludes that Glass is a mere shadow of the greater minimalist composers Reich, Adams and Riley. Others, with more patience and curiosity, give the music time to unfold and, especially in Glass’s operas, uncover sonic gems.

In the Napa Opera House on Feb. 19, Glass played a 90-minute recital of his music at the piano. A full house of 500 greeted the composer, who announced the works from the stage. Beginning with “Mad Rush,” a 14-minute work from 1979 dedicated to the Dali Lama, it became quickly apparent that Glass is not a virtuoso pianist. The repetitive figures were seldom played evenly, especially in the right hand, and given that so much of his music is in the upper registers, he has a surprisingly pallid tonal palette. He does, however, know how to phrase his works with adroit care, and he moved easily to three of the “Metamorphosis” pieces from around 1980 that became part of the scores for the movies The Hours and The Thin Blue Line.

In these richly hued discourses, and in eight of the “Twenty Etudes for Piano” (four are still to be written), Glass captivated listeners with his convoluted and sonorous sonic fabric, all played with long stretches of full damper pedal, sporadic shift pedal and a rainbow of sound. He constantly used two pianistic tools: hand crossings and pedal point. There were also frequent deceptive cadences that tended to prolong the already lengthy exposition of the Etudes beyond (at least) my attention level. Several times Glass forgot where he was in a piece and wandered about until a phrase reoccurred that he could latch onto. These wanderings didn’t matter to the audience, as music with so much repetitive structure just rolls on without much need to change. I heard Keith Jarrett’s pianism and Glass’s own Satyagraha in the playing.

The concert closed with “A Night on the Balcony,” written in 1991 and inspired by Jean Genet’s play The Screens, a depiction of the French occupation of Algiers. Here the long lines were punctuated by sforzandos in the left hand and more melodic interest than the preceding pieces. I found the piece entrancing and not at all soporific.

The single encore was from the 1981 “Glassworks,” titled appropriately “Opening and Closing.” It was more of the warmly-shaped arpeggios and repeated chords in both hands, effective and kaleidoscopic.

The concert was far from the usual piano recital. It was not only memorable, but also, as the composer was the performer, instructive.

Santa Rosa music explorer Dr. Victor Spear contributed to this review.