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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, May 14, 2009
GILA GOLDSTEIN, CONCERT PIANIST

Israeli Pianist Gila Goldstein

GOLDSTEIN'S FINE PIANISM AT OAKMONT

by Terry McNeill
Thursday, May 14, 2009

Gila Goldstein isnít a household name in North Bay music, but as a visiting virtuoso the New York resident has played here a lot: three recitals in San Franciscoís Old First Church series, another in a stately Marin hilltop home, one for Concerts Grand, and at least one Sonoma County home concert. May 14 found her at the Oakmont Concert Seriesí Berger Auditorium, her third recital there, with a varied program of virtuoso works for the piano.

Goldstein, trained in her native Israel and at the Manhattan School of Music, offered a mixed bag from six composers in the first half, beginning with the big Bach Chaconne from the Second Violin Partita, in Busoniís edition. As in the rest of the program, she took a measured approach to the massive work, leaving orchestral playing aside and concentrating on fine details, distinct lines and coloristic effects. Her scales were clean, and she judiciously traded the themes between her hands.

Lisztís Sonetto Del Petrarca followed, again in a colorful but small-scaled reading, more reminiscent of Brendel than of Horowitz or Bolet. A lovely inner voice peeped through before the final thematic statement. A Nocturne by Respighi was next. The work has a beguiling shimmer with softly repeated right-hand alternating chords, and the surprise of two low-bass ending notes. Goldstein played it wonderfully, along with the following work, Debussyís Poissons díor. Her playing of Debussyís overlapping tremolo figures was suitably impressionistic, as were the fluid arpeggios. Playing fast, delicate pianissimo passages is clearly difficult, but she handled them with aplomb.

Concluding the first half were Paul Ben-Haimís Five Pieces for Piano, a Goldstein specialty. Each section alternates improvisational melodies and exciting rhythms. The ending Toccata is directly akin to Prokofievís Toccata and much of his Third Sonata (which Goldstein played here three years ago), and it was and equally effective under Goldsteinís fleet and accurate fingers. The Canzonetta was phrased in a way to delight any singer in the audience of 160.

The concert, the fifth in the 2009 season, had but one work in the second half, Schumannís Davidsbundlertanze. Comprised of 18 short dances and other works from 1837, the cycle has never acquired the popularity of the composerís other cyclic works: Carnaval, Humoresque, Kreisleriana and the Noveletten. The Davidsbundlertanze is a difficult piece for the listener, having considerable sectional beauty but lacking the dramatic contrast and march themes of the 22-part Carnaval. Goldstein lavished a great deal of beautiful pianism on the piece, playing repeats differently (a mark of the romantic pianist) and adding little phrase-ending ritards and telling off-beat accents. Her control of pianissimo and evocative tone color from the pianoís midsection were masterful. She has a lyrical gift and a deft touch well suited to this neglected but demanding work.

No encore was requested by the assembly, though more of the richly hued Schumann would have been a blessing. Also desirable would be a method of quieting Berger Auditoriumís air conditioning system. Its steady hum offered a less-than-joyful accompaniment to an afternoon of fine piano playing.