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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Recital
RISKY SPEED IN POTENT LUO RECITAL
by Terry McNeill
Sunday, January 22, 2017
Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing. Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the ...
Recital
COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL
by Nicki Bell
Friday, January 20, 2017
On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and el...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
RECITAL REVIEW
Concerts Grand / Sunday, October 30, 2011
Frank Wiens, piano

Frank Wiens Plays Falla's Cubana Oct. 30 at Mendocino College (G. Louie Photo)

WIENS' SPANISH PROGRAM CHARMS CONCERTS GRAND AUDIENCE AT MENDOCINO COLLEGE

by Mendo Cinco
Sunday, October 30, 2011

Pianist Frank Wiens is a popular visitor to Northern California concert halls as recitalist and lecturer, but has strangely been absent from Mendocino County for decades. Under the auspices of the Concerts Grand series, this oversight was corrected Oct. 30 in a memorable recital at Mendocino College’s intimate Choral Room.

In a program that was almost exclusively Spanish music, Mr. Wiens began with chaste readings of two Soler Sonatas, in D Minor (DR 11) and D Major (DR 84). There was no rushing in the first, a beguiling reading, and the second was more Scarlatti like with a whirl of repeated notes, sharply-etched ornaments and an artful blending of themes. The D Major was a specialty of the late Spanish pianist Alicia de Larrocha, as were additional works that don’t attract many virtuoso pianists.

Two Albeniz pieces from his Iberia Suite came next, Evocacion and the familiar Triana. The pianist had exceptional rhythmic and pianissimo control in the first, the top notes singing and the many ritards subtle and impressionistic. In the F-Sharp Minor Triana (a suburb of Seville) Mr. Wiens evoked the flavor of a fiesta with dramatic gypsy chord playing.

A highlight of the afternoon was Falla’s four Pieces Espagnoles, from 1908, and probably a North Bay premiere performance. The opening Jota was a dance of percussive and brassy phrases, carefully gauged by Mr. Wiens, as was the seductive Cubana. Here the artist was in no hurry, underplaying the many modulations and meandering into unexpected sonic thickets. The third section, Montañesa, was played unaffectedly and with charm, and some use of the sostenuto pedal. It elicited a solo “bravo” from a listener, moving the artist to hold up one finger that indicated that the final Andaluza was to come. In this section Mr. Wiens’ playing sounded castanets in a Flamenco style, a bright dance that was improvisational but of course was pianistically impeccable.

The first half’s concluding work, Liszt’s Spanish Rhapsody, brought the audience of 37 to its feet in loud applause. The opening surprisingly did not have a fast tempo, with ample pedal point, and the rapid right hand arpeggiated chords resounded and did the accurate skips. The pianist sought clarity over speed in the tsunami of notes and the syncopated rhythms (Madrid rhythms?) and quick glissandos were exciting to hear. The standard ending was chosen over the more powerful ending fashioned by Busoni.

In a piece dedicated to the Spanish pianist Ricardo Viñes, Rodrigo’s toccata-like A l’ombre de Torre Bermeja began the second half in a rhapsodic vein far removed from the preceding Lisztian fireworks. The lyrical middle section was played elegantly, and the following bell phrases in both hands were telling. Mr. Wiens underscored the abstruse dissonances. The same could be said of his playing of two Granados works, the familiar Maiden and the Nightingale and Los Requiebros (Flattery) from the monumental Suite Goyescas. The long melody in the tenor in Maiden was captivatingly played, the many trills light and even, and ending with dainty filigree. The second work seemed to be too sectionalized, lacking clarity, the double notes never lucid.

Debussy’s La Puerta Del Vino from Book Two of his Preludes was the penultimate programmed work, and here was projected boldly with boisterous phrasing. A more boisterous piece, the Horowitz transcription of Bizet’s opera Carmen, concluded for formal program in grand style. The right-hand scale playing was very good, the big sound alleviated by short sections of repose. Mr. Wiens half pedaled many of the runs, the terrific Bizet themes pealing out with virtuosity, albeit not Horowitz, that seemed to push the limits of the piano and even the small Choral room.

One encore was offered, Mompou’s No. 6 from his Cançion i Danse Suite. The opening part (cantabile espressivo) was performed elegantly, in sharp contrast to the explosive rhythms of the concluding dance. A perfect encore.

The recital, played without score and in a snazzy concert tuxedo, was underwritten by Dorothy Sugawara, with area management by pianist and teacher Elizabeth MacDougall. Frank Wiens has at last ignited local interest in his artistry, to be on display again when he plays Grieg’s A Minor Concerto with the Ukiah Symphony Dec. 3 and 4 in Center Theater. A pianist worth discovering.