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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...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
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...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
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...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
RECITAL REVIEW
Mendocino Music Festival / Thursday, July 16, 2015
Ching-Yun Hu, piano

Pianist Ching-Yun Hu

ELEGANT SCRIABIN, CHOPIN AND GRANADOS IN MENDO FESTIVAL RECITAL

by Terry McNeill
Thursday, July 16, 2015

Taiwanese pianist Ching-Yun Hu made a formidable Mendocino Music Festival debut recital July 16 in Mendocino’s Preston Hall.

A full house warmly greeted the diminutive artist, and she responded with a pensive and then dramatic performance of Scriabin’s Sonata Fantasy, Op. 19. Writers refer to this work as related to the sea, appropriate to this venue where at intervals the distant surf can be heard. This year is the 100th anniversary of Scriabin’s death, and the G-Sharp Minor Sonata has become, with the exception of the composer’s Fifth Sonata, the most often played.

Ms. Hu deftly combined the concentrated lyricism of the first part with the stormy flights in the second Presto part. And she didn’t stint on damper pedal use, and the music needs a lot. The house piano, adequate if not exceptional, is voiced warmly rather than brightly. This added to the richness of the tone but in legato passages produced muddy scales.

Ms. Hu’s announced to the audience that Schubert’s Drei Klavierstücke (D. 946) was a personal favorite, and these three works from the composer’s last year closed the first half with diverse effects. The opening E-Flat Minor was played loudly with many telling repeated chords, putting the soft lyric song of the second E-Flat Major piece into sharp relief. Ms. Hu played it simply and with elegance. The artist highlighted the syncopations and harmonies of the final piece in C Major.

Four Chopin works comprised the second half with the afternoon’s best playing coming in the shortest work, the E Flat Nocturne of Op. 55, No. 2. Rhythmic subtlety approaching Ignaz Friedman’s iconic 1936 recording was a delight (praise can go no higher), as was Ms. Hu’s command of pianissimo. The repeated right-hand A and B Flat notes had a character of bells, and she artfully pedaled the ethereal transition to the final two chords that held me spellbound.

The Barcarolle and the E Major Scherzo received workmanlike readings that uniquely in the recital had inner voices, half-pedaled fast ascending scales, and at the return of the big theme in the Scherzo a delicate ritard that almost broke the musical thread. Almost. The tempos in both works were on the fast side and Ms. Hu seemed most comfortable when the music called for performing fast running passages in both hands, as it was in the interpretation of Chopin’s early bravura E Flat Rondo, Op. 16.

One encore was offered, Granados’ Spanish Dance No. 2, “Oriental.” It was played languorously, though not slow, and was bewitching in well under five minutes with a luxurious sonority and tranquil ending that kept the audience hushed for many seconds before applause.