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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
RECITAL REVIEW
Green Music Center / Sunday, January 22, 2017
Wei Luo, piano

Wei Luo Playing Shostakovich Jan. 22 (J. McNeill photo)

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 wonderful set of 24 that are played often, and by such disparate artists as jazz pianist Keith Jarrett and the Russian Tatiana Nikolayeva (the dedicatee).

Ms. Luo chose the D Major (No. 5) and the grandiose D Minor that concludes the set. The first received a jaunty reading that emphasized the rippling chords in the treble and subtle right-hand voices that were well mated to the hall’s warmly voiced piano. In the fugue repeated notes were played with just the right dry touch that moved to a forceful end. But no less forceful was the great 24th Prelude and Fugue, starting with sonorous bell notes and moving inexorably to the big-boned fugue of considerable power. A mature and potent interpretation.

Beethoven’s C Major “Waldstein” Sonata should have been the recital’s capstone, but was not, as Ms. Luo chose a tempo that constantly blurred passage work and dynamics that overwhelmed the Sonata’s humor and classical impact. It was predictable playing for a young artist – minimal attention to ritards, over pedaled and with scales where individual notes sank into a sonic bog. Wit in this intricate movement was absent.

The playing in the chaste Adagio was also predictable, slow to the point of losing focus and too loud at the one place that builds a climax.

Pianists all play the opening of the marvelous Rondo (save for Hofmann’s stunning interpretation recorded in 1938) in the same soporific way, and Ms. Luo followed this practice. And she took the conventional path of blurring the sound with no pedal change in the fifth measure, giving the swirling phrase a wash of color at the expense of clarity. By punching out so many chords so loudly the humor of the Rondo was lost, and the modestly sized Schroeder Hall was overwhelmed with percussive and forte-fortissimo sound. Virtuosity in Beethoven doesn’t always have to be stridently tumultuous.

The long trills were played well and the artist chose to play the glissando octaves in two hands as fast scales. Applause from the audience of 125 was polite but not extended.

Following intermission playing of a different sort came in three Book I selections from Albéniz’ masterful Iberia. “Evocación” was carefully phrased and unfolded without hurry and with rich tone color. “El Puerto” was also evocative along with a “skittish” character, wholly suited to the piece. Rhythmic variety and a husky sonority were present in the concluding “El Corpus en Sevilla”. There was no applause, the audience perhaps simply happy to hear so many provocative details in this mesmerizing Spanish music.

The Albéniz is far harder to play than Prokofiev’s B Flat major Sonata (No. 7) that closed the program, and the Op. 83 Sonata is arguably the most played 20th Century piano sonata. Dennis Matsuev presented a volcanic rocket-speed performance of it in Weill several months ago, and Ms. Luo began the opening march loudly but with the tricky rhythms well in place. The composer was said to have wanted most of his Sonatas played with machine-like rhythmic control, and Ms. Luo has this in abundance.

The slow movement (maybe a rose between two thorns?) had the requisite mystery only at the end, and the bass often covered the right hand tune. The famous Precipitato was played as perpetual motion and it was easily enough to generate palpable excitement. It’s that kind of piece, raucous with the punctuation of four furious B Flat ending chords.

Ms. Luo offered one encore, Rachmaninoff’s transcription of his Vocalise, Op. 34, No. 14. Her interpretation of this short melancholic song was sobering, convincing and beautiful.