S. Porter P. Mahidhara April 11

OAKMONT SEASON CLOSES WITH STRAUSS' PASSIONATE SONATA

Music at Oakmont’s stellar season closed April 11 with a recital of violinist Simone Porter and pianist Pallavi Mahidhari in the Berger Center Auditorium before an audience of 75.

It was the soloist’s Oakmont debut, though locally she played the Beethoven Concerto with the Marin Symphony in a performance that was fluid but underpowered. But that was in a large hall, and many years ago, and this afternoon Ms. Porter had the requisite musical passion and sonic projection for the program’s pièce de résistance, Strauss’ E Flat Major Sonata, Op. 18.

Written in 1888, the three-movement Sonata occupied the entire second half and received a dramatic interpretation that made the best use of the hall’s dry and noisy air conditioning affected sound. Playing from score Ms. Porter propelled the violin line in the opening Allegro with exuberance, the music reflecting Schumann’s Op. 105 Sonata. Both parts had the needed virtuosity and brilliance over 28 minutes, emphatically rhythmic, and the movement’s adorable second theme was captivating.

Playing in the Andante was everywhere tender and nocturne like, the broken step chords and Pianissimos were enchanting, a long love song. The finale was performed powerfully with the violin line singing out and Ms. Mahidhari’s overly generous damper pedal use blurred the speedy piano scales in the bass and Arpeggio figurations. The fiery performance brought the audience to its feet in applause.

Finishing the first half was Beethoven’s D Major Sonata, Op. 12, played from score with animation and joy, especially in the finale (Allegro). Ms. Porter used just a bit of Portamento on some notes, everything in its place and with lovely high register playing. Intonation was accurate. The Allegro was humorous throughout, the sound light and sunny, the tone never harsh but burnished.

Playing without score Ms. Porter chose early in the program Heinrich Biber’s grand Passacaglia, an eight minute tour de force for solo violin composed in 1676 that has been compared with the Bach Chaconne. These are actually variations and were performed with technical aplomb and many small delicious instrumental details. Splendid.

There was an encore, Dvorák’s Songs My Mother Taught Me, number four of the seven gypsy songs from 1880. The transcription was presumably from Kreisler, the elegance and charm of that master amply reflected in Ms. Porter’s vivid mastery.