1. Martin Haas
    March 4, 2013 @ 2:06 pm

    The Shostakovich violin concerto (# 1) is indeed a seminal accomplishment by the composer. Any violinist who can play the notes in sequence and on time deserves loud applause. HOWEVER, Gomyo’s performance on Saturday night at the Symphony was consistently weak, though rich in tone, and, sadly the soloist MISSED the deep drama of this concerto. All spoke of, and the soloist interpreted the concerto as this famous opposition to Stalin as well as the political aspects of its history while COMPLETELY missing the deep tragedy of the music. This music, like Sostakovich’ piano trio describes the terrible suffering of Europe, Russia and its peoples at the hands of THE Villains of the 20th century, the Nazis – the communists too? The depressive drama that this music so ably describes was completely missed by Gomyo. This suffering, in contract to Stalin’s decreed “Happiness” is the central message of this concerto, and it was sorely missed in Gomyo’s performance. I have heard this concerto performed by the young Dutch violinist Janine Jansen. The pathos and drama that Shostakovich composed into this concerto was crying out never to be forgotten by anyone who heard Jansen (or Perlman with the IPO). Having heard the Jansen performance, this weekend’s performance of the same music was a deep disappointment. Our San Diego music patrons have been short-changed by this weekend’s performance and by the critic who claimed the high level of the presentation. Indeed, Gomyo passed the technical test of Shostakovich’s first violin Cto with flying colors and failed to paint the CONTENT of the music, as did Ken Herman. A serious loss to the audience.

    Martin Haas. A listener.


  2. Martin Haas
    March 5, 2013 @ 9:54 pm

    Dear Mr Herman, What a dirty little trick to remove perfectly justified criticism of your critique of Gomyo’s Shostakovich violin concerto. I will approach the Symphony about this: you do NOT do a favor to our Symphony by wildly overstating the quality of a mediocre performance. Do you not think that our concert-going public deserves a musically responsible critique? This is NOT the way to build an audience for our Symphony. As I said, I will speak to the leaders of our Symphony. Martin Haas


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