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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
RECITAL REVIEW

Violinist Hilary Hahn

PRISTINE CONTROL, SUBDUED EMOTION

by Terry McNeill
Sunday, April 27, 2014

Hilary Hahn’s April 27 Weill Hall recital found the violinist entering the stage without her instrument, beginning ten minutes of comments about the program. She does these introductions well, and most of the audience enjoyed the discourse comparing Schubert's Fantasia for Violin with Schoenberg’s thorny Phantasy for Violin, and her recent commissioning project of 27 encore pieces.

And it was with this fresh set that she began with Welsh composer Richard Barrett’s three-minute “Shade,” a skittering tour de force of spiccato bow effects and eerie mystery. The sound had a scary edge, stopping and starting, and pianist Cory Smythe had the last word with a rich soft bottom B note.

Anton Garcia Abril’s Tres Suspiros followed, the three parts spotlighting Ms. Hahn’s superb bow control that allowed her to fashion the small thematic snippets in the first and third movements with aplomb. There is more than a little Messiaen here, and in the third movement the duo deftly played long phrase endings. The solo violin second movement had a lovely controlled pianissimo and a flavor of gypsy rhythms.

Schoenberg’s Op. 47 Phantasy was played very well, but I must admit I have never connected with it as I do with the Viennese master’s Violin Concerto. Ms. Hahn’s focus, intensity and stamina were admirable throughout this vexing work from 1949. The piano part is often furtive, and Ms. Hahn’s multiple tone skips were pristine.

Closing the first half was Mozart’s A Major Sonata, K. 305. The music fell warmly on the ear after the pesky Schoenberg. The playing struck an argumentative note in the first movement, and in the concluding variations the pianist’s subdued legato playing contrasted with the soloist’s marvelous tone, smoothly changing from dry to florid. That said, it’s one of Mozart’s least interesting sonatas, albeit well laid out for both piano and violin.

Two works comprised the second half, preceded again by Ms. Hahn’s remarks to the audience of 1,200: Telemann’s E Minor Fantasie for solo violin (TWV 40:19) and Schubert’s C Major Fantasia, D. 934. The Fantasie was played without score and was faultless in all registers. These were gallant dances with contrapuntal twists galore, a Baroque delight that made one want a Bach Partita from Ms. Hahn’s magical instrument.

In the protracted Schubert piece, Mr. Symthe was an attentive but not virtuoso pianist, playing sporadic muddy scale passages and beginning far too loudly. Here the music for both instruments needs to carefully grow from silence. A long held note in the violin led effortlessly to the rondo theme, emphasizing the long arch of rarified lyricism. In the opening slow section, Ms. Hahn used portamento rarely, but in the many repeats played them with variety: here a diminuendo, there a less forceful character or a tad less vibrato. She has a consummate and delicate pizzicato technique with at times intriguing inflections.

The 26-minute performance had a triumphant and majestic finale, each musician trading motives in a celebratory way leading to an exciting finish.

Responding to a standing ovation, the violinist played Max Richter’s “Mercy,” a threnody work that has sounds like Pärt or new-age music. But here it was mesmerizing with long decrescendos and, as always, Ms. Hahn’s subtle control of pianissimo and bow position. Slow piano chords were in the background, leaving the yearning and delicate work to a violinist at the top of her game. It was an encore that had a certain emotional impact that was lacking in the recital proper.

Violinist Mischa Hubermann contributed to this review