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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
Chamber
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...
Chamber
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...
Chamber
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...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
Cal Performances / Thursday, March 19, 2009
Murray Perahia

TRANSCENDENT ARTISTRY FROM MURRAY PERAHIA

by Steve Osborn
Thursday, March 19, 2009


In his March 19 recital at Zellerbach Hall in Berkeley, pianist Murray Perahia played the three Bs — Bach, Beethoven and Brahms — with a Schubert encore at the end supplying the plural S. His program ranged from the high Baroque (Bach’s Partita No. 6 in E minor) to the late Classical (Beethoven’s “Pastorale” Sonata, Op. 28) to the full-blown Romantic (Brahms’s “Variations and Fugue on a Theme by Handel,” a work that embodies the radical transformation of musical style from the 18th to 19th centuries).

For listeners craving an evening of traditional classical music, this recital had it all: masterpieces played by one of the world’s greatest pianists in a convivial setting. The house was full to overflowing.

Perahia received a hero’s welcome as he strode on stage, fully decked in tails. He settled into the piano bench, draped the tails behind him, and set right to work on the opening Toccata of the Bach, the first of seven movements. At first, his playing was restrained, almost quiescent, as he gathered the various musical threads together before the entrance of the theme. His face was etched in a frown, and he kept a close eye on his hands.

Little by little, he began to increase the volume and to sway, giving the movement a narrative arch. That narrative continued in the subsequent Allemande, which was marked by clarity of tone and delicacy of attack. Then came the highly rhythmic Courante. Here the syncopations were perfect, the rapid right-hand runs flawless, the left-hand arpeggios a movement in themselves. The unflagging beat continued through the remaining movements, with Perahia repeatedly using his upper body to punctuate the rhythm.

Perahia’s finger work was dazzling throughout, but his sense of rhythm and forward motion are what made the performance so memorable. By the concluding Gigue, he was positively rollicking, his jowls shaking as he emphatically repeated the insistent two-note figure that brings the Partita to a close. During the thunderous applause, the man to my left leaned over and said, out of the blue, “You can hear every single note when he plays — he doesn’t gloss over anything.”

Beethoven’s “Pastorale” Sonata, with its traditional four-movement form, is generally considered the last work of his early, Classical period. That form is evident from the outset, with the twin themes of the opening movement, followed in turn by their development and recapitulation. Classic form makes for a classic story, and Perahia narrated this one superbly. Beginning with the repeated notes in the bass, he leaned into the keyboard and built strong dramatic tension, unfolding the opening theme at a stately pace. When he arrived at the second, the transition from major to minor seemed almost like an epiphany, as if Perahia were inhabiting Beethoven’s own thoughts.

The story got even better from there. In the Andante second movement, Perahia often lifted up his left hand, turned it over as if to examine his palm, and then expertly reset it on the keyboard, emphasizing the crucial bass line. Before playing the many descending figures with his right, he waited until the last possible nanosecond, ratcheting up the tension. That playfulness persisted in the Scherzo, where he seemed to barely touch the keys. In the final Rondo, he offered his loudest playing yet, giving full contrast to the sforzandos and pianissimos and creating enormous excitement with the sheer speed of his attack. He got up very slowly when he was done.

The exhausted audience got some relief during intermission, but Perahia had only begun. Brahms’s “Variations and Fugue on a Theme by Handel” does indeed have variations, but they’re really just a prelude to the main event: the thunderous Fugue at the end, which bears almost no stylistic resemblance to the original theme.

The piece begins innocently enough, with Handel’s somewhat tepid melody peeking out beneath a filigree of ornamentation. Perahia made the Steinway concert grand sound almost like a harpsichord as he deftly unveiled the material at hand. After an opening variation in the baroque style, the real Brahms began creeping in. By about the fourth variation (there are 25), the stentorian bass announced an entirely new musical language, far removed from Handel.

Perahia navigated the rapidly changing moods of the variations with ease. Many are quite short, and he proved equally adept at being assertive, limpid, agitated, and reflexive. All those moods and more were on display in the final fugue, where the music really takes off. Here he managed to make every entry of the four-note subject sound new and different. He rocked back and forth in his bench as if driving a team of horses, spurring each one to the max.

The standing ovation was instantaneous and unanimous. Perahia looked drained, but after four curtain calls, he sat down and played Schubert’s B-flat Impromptu as if he had not a care in the world. His sound was serene, his fingering impeccable, his artistry transcendent.