Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
STYLISH HAYDN QUARTETS CLOSE GREEN ROOM SERIES
by Terry McNeill
Sunday, May 9, 2021
Completing the Green Music Center’s spring series series of “Green Room” virtual concerts, the St. Lawrence String Quartet played May 9 a lightweight program of two Haydn works. Lightweight perhaps, but in every way satisfying. The G Major Quartet (Op. 76, No.1) began the music that was supplement...
Recital
ECLECTIC PIANISM IN SPRING LAKE VILLAGE VIRTUAL RECITAL
by Terry McNeill
Wednesday, May 5, 2021
During the pandemic The Santa Rosa Symphony’s virtual concerts received their due in performance praise, but another series, Spring Lake Village, more quietly presented monthly virtual concerts to a select local audience. May 5 saw the latest event, produced by impresario Robert Hayden, and feature...
Symphony
SONIC CONTRASTS HIGHLIGHT SANTA ROSA SYMPHONY SPRING PROGRAM
by Terry McNeill
Sunday, April 25, 2021
In a curious mixture of compositions, the Santa Rosa Symphony’s penultimate virtual concert of the season April 25 unfolded in ways both highly satisfying and a bit perplexing. Directed by resident Music Director Francesco Lecce-Chong, the event followed a familiar format – several contemporary wor...
Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, March 28, 2021
The Santa Rosa Symphony took a cautious step toward the return of live music in their March 28 virtual concert by sharing the stage with an actual live soloist rather than an apparition. Star cellist Zuill Bailey was still masked, and his back was toward the equally masked and plexiglassed orchestra...
Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUO
by Terry McNeill
Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOT
by Steve Osborn
Sunday, February 28, 2021
Small orchestras can inhabit a sweet spot between chamber ensembles and full orchestras, but how well they hit that spot depends on the composer's orchestration and the players' ability to project. That dependence was on full display in the Santa Rosa Symphony's Feb. 28 concert, which featured three...
Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH
by Terry McNeill
Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom. The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONY
by Steve Osborn
Sunday, January 24, 2021
Transcriptions and ascending arpeggios were the order of the day on Jan. 24, as the Santa Rosa Symphony performed uplifting works by Bach/Webern, Ellen Taaffe Zwilich, Marianna Martínes and Mozart. The concert video was made in Weill Hall on Jan. 9. The first transcription was Webern’s 1935 renderi...
Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
RECITAL REVIEW

Pianist Peter Serkin

SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL

by Terry McNeill
Friday, November 9, 2018

Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike.

It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard approach to Mozart’s B Minor Adagio (K. 540) and the K. 570 B-Flat Major Sonata, and to Bach’s Goldberg Variations that comprised the second half. Current international Mozartians (Andras Schiff, Mitsuko Uchida) play with little damper pedal and brisk tempos, similar to more distant Mozart virtuosi Alfred Brendel, Paul Badura-Skoda, Lili Kraus, Emil Gilels and Walter Gieseking.

Mr. Serkin began by playing the lovely Adagio with a chaste tone and at a pace that at 15 minutes was many minutes slower than prevailing practice. He used large ritards and occasionally the musical line slowed almost to a vanishing point. His unique hand vibrato on key tops (his father Rudolf also did this) elicited comments from some of the 350 in the audience. And, no, the sound doesn’t change by key message, as once the wool piano hammer hits the string, the sound only decays.

Slow playing over 21 minutes in the Sonata highlighted the contrapuntal lines of the work, one of Mozart’s last big piano pieces. The pianist’s self effacing approach and intense focus worked best in the long and complex adagio where his attention to the smallest compositional detail was palpable. Small breaks in the sound (“luftpause” in German) bordered on affectation. The fermata on the penultimate chord must have lasted eight seconds.

In the allegretto finale Mr. Serkin surprised by finding a few inner voices but notes in scale playing were never distinct because of generous pedal application, and with such a pokey tempo (for an allegretto) the interpretation became a little mundane. Perhaps listeners in Weill might have thought Mr. Serkin’s approach to Mozart was limited by pianistic technique, but I think the result is simply how he feels the music, and the light he sheds on the composer’s genius. Certainly there was much to admire in such an interpretative concept, although with ponderous tempos there was danger that the musical line would be breached. It never was.

Bach’s towering Goldberg Variations (a sarabande with 30 variations) followed intermission, and began with a not slow setting out of the chaste theme, albeit with the pianist teasing the ends of phrases. In the nearly 50-minute traversal of the 1742 work Mr. Serkin again eschewed contemporary interpretations, choosing instead slow tempos with room for contrapuntal voicing and sporadic left-hand accents. He wrapped his arms around the Goldberg using warm pianistic colors, constant legato phrasing, softly arpeggiated chords that ended many individual variations, and accentuation of Bach’s piquant dissonances.

A shortcoming in this artistic conception was the potential for boredom, as the slow tempos and instrumental volume throughout the variations were similar, and in fact there wasn’t a strong forte all evening. In sum, Mr. Serkin’s self effacing approach to Bach was always interesting and authoritative, but for me ultimately unconvincing.

Silence in the hall lasted many seconds after the final soft unison g notes, the artist slowly lifting his hands and humbly acknowledging the standing ovation. No encore was offered or needed.

Classical Sonoma reviews rarely mention extra-musical items, such as artist clothing or interminable commentary from the stage, but the tall pianist was uniquely attired in a conventional vested business suit, pocket handkerchief and dark red tie, and sat almost motionless at his instrument.