ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series.
Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport.
Local composer Nolan Gasser’s Sonoma Overt...
Violinist Roy Malan and Pianist Kumaran Arul at Mendocino's Preston Hall
MALAN AND ARUL TAME GRIEG AT THE MENDOCINO MUSIC FESTIVAL
by Terry McNeill
Wednesday, July 15, 2009
Now in its 23rd season, the Mendocino Music Festival has a reputation for combining innovative crossover programming with the delights of summer on the North Coast – ocean breezes, warm morning fog, Victorian village flower gardens and memorable cuisine. For Roy Malan’s violin recital of July 15, the program was a little novel and a little conventional, but the artistry was first cabin.
Joined at the piano by Stanford University faculty member Kumaran Arul, Mr. Malan’s usual effervescent pre-performance remarks were in evidence as he introduced Mr. Arul as a passionate collector of recordings of the “golden era” of the piano, and discussed the classic 1928 recording of the afternoon’s big work, Grieg’s C Minor Sonata, by none other than Kreisler and Rachmaninoff. Kreisler and Mr. Malan are violinists separated not only by a generation or two, but by their sound. The former’s tone is as wide as the great bay in front of Mendocino, the latter’s style is more constrained and the sound focused but not rich in partials or the broad phrasing that Kreisler derived from his Vienna training under Massart. What Mr. Malan brings to a recital is the art of a consummate professional, playing a wider range of music than any violinist known to me, and reflecting his own famous teachers: Galamian, Gingold and Zimbalist.
Before a jammed Preston Hall audience the program began with a curiosity, Zimbalist’s Sonata In G Minor, Written in 1926 and revised in 1968, Mr. Malan recorded the work years ago (with Robin Sutherland) and with Mr. Arul gave a compelling reading. The opening adagio sostenuto starts tentatively, the fiddle displaying no vibrato, and evolves into a lyrical theme reminiscent of John Powell’s Op. 7 Violin Sonata. Powell was an American composer with whom Zimbalist toured as early as 1913. It’s a long movement, quite Gallic in character without attaching to any individual French composer, and Mr. Malan underscored the theatrical nature of the themes, often in the top register ever so close to the bridge. After some uncharacteristic false notes, Mr. Arul settled down to wholly artistic support in a piece that must have been quite new to him. The second movement, a plaintive and languorous dance, was short and juxtaposed questioning phrases from the violin, answered by the piano. A lovely interchange indeed.
The allegro vivo finale was an animated and often jazzy ride, at one time finding Mr. Malan holding a note solidly for 15 seconds over the syncopated piano line. There are allusions to Rachmaninoff harmonies here, again often in higher registers, and Mr. Malan played it very well.
Dvorak’s Sonatina in G Major, Op. 100, closed the first half, and from the first notes it was unmistakably from the Czech composer’s American period, almost as familiar as the String Quartet in F. The four-movement work is really a set of dances: the rustic with pianissimo ending, a Negro spiritual folk song ending again lightly in a captivating descending phrase; an upbeat “square dance” Scherzo; and a whirling finale full of deceptive cadences and “Virginia Reel” rhythmic excitement.
The intermission brought a respite for the perspiring audience, buoyed by sea breezes from the hall’s open windows (they were closed at the concert’s beginning to prevent the violin from going out of tune), and the second half contained only the Op. 45 Grieg. Here the specter of Kreisler again appeared, Mr. Malan’s tonal approach gaining heft in the tumultuous opening Allegro molto. At times the piano sound overpowered the violin, and perhaps Grieg, a virtuoso pianist, would not have been at all bothered. Some of Mr. Malan’s finest playing occurred in the second movement, the balances restored and his trill slow and amazingly even. There is an ascending phrase at the end which leads up to an E natural, two octaves above the open string E, played sometimes as a harmonic which means vibrato is not heard on the note. Some violinists play it not as a harmonic but fully stopped and with vibrato, which is what I heard. Mr. Malan nailed every note, the last one deftly sailing off over the massive white Festival tent a half mile distant.
Grieg’s finale is again boisterous, and was played that way with echoes from the first movement’s themes. Mr. Arul’s energetic octaves occasionally imposed on the violin line but to no great disadvantage, both musicians bent on conveying the work’s drama and fire. Mr. Malan’s spiccato bow was vigorously dancing near the end, a joyous homage to a lyrical and demanding masterpiece. Though the applause was long and loud, the audience asked for no encore. A curious omission, as I suspect Kreisler’s delectable “Schön Rosmarin” or “Liebesfreud” were at the ready.
Roy Malan has become the North Coast’s most popular violinist, playing in several orchestras, the Trio Navarro and with many chamber ensembles, and here teamed with the formidable Mr. Arul provided the high artistry synonymous with the resplendent Mendocino Festival.
Violinist Dan Greenhouse contributed to this review.