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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
Mastercard Performance Series / Saturday, January 24, 2015
Yo Yo Ma, cello

Cellist Yo Yo Ma

MESMERIZING BACH AND CASALS IN MA'S WEILL HALL RECITAL

by Terry McNeill
Saturday, January 24, 2015

Cellist Yo Yo Ma’s warm friendship with North Coast audiences entered a new chapter Jan. 24 in a standing-room only and stage seats Weill Hall recital. Playing three Bach Suites for solo cello, Mr. Ma could have echoed the young Liszt’s famous comment, “the concert is me.”

But the concert was really about Bach, and Mr. Ma’s dedication and mastery for these ever-fresh works composed in the early 1720s in Cöthen, Germany. Wearing a simple dark suit he walked quickly on stage to first of four ovations, and with his trademark grin got down to business with the G Major (No. 1), BWV 1007.

The lack of winter audience coughs was a surprising bonus, and the cellist made the most of the hall’s silence to fashion an evening’s Bach that spotlighted rhythmic virtuosity rather than a constantly speedy bow and work on the fingerboard. It seemed there was never an extended presto the entire night, and Mr. Ma was in no hurry to get anywhere in this Suite and the No. 5 in C Minor (BWV 1011) that closed the first half.

All through both works the pianissimo playing was superb with varied attacks and textures in the repeats and a fluid legato with minimal vibrato. Often there was no vibrato at all in long-held notes at the end of silken phrases. These were carefully balanced interpretations, often restrained and emphasizing the subtlest changes in tempo and inflection. The crescendos were long and beautifully paced.

Mr. Ma drew a warm geniality in the concluding C Major Suite (No. 3, BWV 1009) and the sonority was underscored in his cello by the use of low open C string in chords. His control of multiple stops was sovereign in this seven-movement suite. The plaintive and magisterial Sarabande was at the center of his reading, and the Gigue came forth as a rustic dance with pedal point.

Responding to a spirited standing ovation Mr. Ma eschewed in an encore something popular and fast (the Gigue from the E Flat Suite) or popular and slow (St. Saëns’ “Swan”) and paid homage in audience remarks to Pablo Casals, who in modern times first played the six Suites together and first recorded them in 1936. He played a mesmerizing “The Song of the Birds” that the Catalan cellist wrote in the 1930s. The shimmering long phrases and luminous trills sounded out in a Weill Hall where nearly 1,500 people breathed as one with the extraordinary musician.