An S.F. Symphony program that looked uncannily symmetrical, concerts that began and ended with the best known works of each of the composers, offered rich and gratifying music and an orchestra under David Robertson’s baton in sweet accord.
The Miró Quartet offered more than a chance to test a theory on "late style" on Sunday in Burlingame, played divergent works with the utmost dedication and coordination, enveloping without overwhelming the intimate space of Kohl Mansion’s hall.
Marc Teicholz of the San Francisco Conservatory gave an exquisitely sensitive and skillful recital there on Saturday, featuring new transcriptions, music associated with Segovia, and extraordinary contemporary compositions.
Circus Maximus is a scream, an impressive piece of workmanship, if a debatable work for the ages. In its latest incarnation as a high-definition Blu-ray disk, it’s a first-class device for showing off your latest surround-sound system.
Led by guest conductor Marek Janowski, the all-Beethoven program at Davies Symphony Hall proceeded in a entirely unexpected order, yet one with exceptional verve and focus, and results that were both bracing and a little disorienting.
In a delightful recital Tuesday night, Lang Lang — probably the best pianist around, and once likened to Elvis in stature — presented a different pianist, who was also subtle, self-effacing, while exhibiting the highest level of artistry.
The Los Angeles Guitar Quartet brought charisma and virtuosity to a program of mostly Renaissance music (bookended by 19th-century opera arrangements and leavened by a modern classic) at a recital presented on Saturday.
A new performance can make you re-imagine a piece you thought you'd known cold: Two new discs, by the Pavel Haas and Artemis Quartets, remind me of that. And what the two groups share is extraordinary technical crispness coupled with tenderness and intelligence; the ability to refresh and renew.
In Music@Menlo's latest concert in this year’s winter series, festivals co-director and pianist Wu Han, Alessio Bax, and Anne-Marie McDermott performed fairly indulgent music from the turn of the 20th century, all of it written for two pianos.
