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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, September 10, 2009
OLGA VINOKUR, CONCERT PIANIST

Pianist Olga Vinokur

VINOKUR SHINES IN ALL-RUSSIAN PROGRAM AT OAKMONT

by Terry McNeill
Thursday, September 10, 2009

Planning and performing an All-Russian program is not a hard task as long as a solo pianist is the executant. The Slavic keyboard literature, even excluding the 19th Century, is vast, and Russian expatriate Olga Vinokur dipped into the works of five notable Russians in her Sept. 10 Oakmont Concert Series recital. Ms. Vinokur, a New York resident by way of early years in Russia and studies in Israel, gave a committed but largely low-key concert for 200 attendees in Berger Auditorium.

Beginning with Shostakovich’s first numbered composition, the 3 Fantastic Dances from 1922, Ms. Vinokur established a pattern that would continue throughout the recital – earnest attention to detail, carefully balanced voicing between the hands and a deft pianissimo touch. The Dances were forgettable curiosities and an odd selection, considering the greatness of the composer’s Op. 87 Preludes and Fugues, but there was fleeting charm for all, and in the second piece the pesky right-hand skips were effortlessly played.

Ten Scriabin Preludes came next, mostly from the Op. 11 set (of 24), but introduced by the haunting Prelude in C-Sharp Minor (for the left hand) from Op. 9. In all these the specter of Chopin looms large, and Ms. Vinokur was content to underplay, looking for subtle contrast and avoiding a big sound. Repose in these works is welcome, but more rhythmic flexibility was needed in the wistful A Minor and dreamy D Major preludes. Ms. Vinokur played the entire set well, but at times the phrasing was predictable, removed from the masterful Scriabin of Sofronitzky and Shura Cherkassky. Two Scriabin studies followed, the Op. 2, No. 1, the most memorable of the pair, and long a Horowitz favorite. Perhaps Scriabin’s most popular work, the D-Sharp Minor Etude from Op. 8 (in the original version) received a routine performance missing the demonic force that caused dancer Isadora Duncan to say that the Etude was the “agony of the Russian people.”

Medtner wrote three volumes of Forgotten Melodies, and the pianist played just one, a Canzona Matinata from Op. 39. The runs were half-pedaled, the nostalgia of the work carefully unfolding. Medtner never gets enough performances, and this one had a simple enchantment.

The first half ended with Prokofiev’s short Third Sonata, Op. 28, a work last played in Oakmont by pianist Gila Goldstein. Here Ms. Vinokur struggled a bit technically, her beguiling soft playing unable to offset the lack of the requisite left-hand fortes and the intrusion of several quick memory lapses. The bravura and rhythmic drive were present, but not quite in the amount needed to carry the piece.

The second part was all Rachmaninoff, comprising the Six Moments Musicaux, Op. 16, and a transcription of Kreisler’s violin bagatelle Liebeslied. The Op. 16 works are early, from 1896, and are brilliantly written salon works in a late-Romantic style. For me they lack the interest and compact textures of the more famous Op. 23 Preludes, and under Ms. Vinokur’s fingers made a mixed impression. In some, especially in the rhetorical B-Flat Minor and the barcarolle-like D-Flat Major, she caught the ruminating character of the works, too similar to Scriabin, and her legato scales shimmered. In pieces that had vast swirls of notes, as the composer often writes, the playing became muddy, and in the second piece she was briefly lost. It’s easy to do that with so much florid pianistic decoration. The rhythmic patterns of the final C Major “Moment” were brought out well, presaging the same model for the later B-Flat Prelude of Op. 23.

The Liebeslied, the first of a pair of reworkings from the composer’s colleague Fritz Kreisler, was played with charm and rhythmic vitality, if not the last ounce of virtuosity.

One encore was offered, a Scarlatti sonata, performed with fleet panache. It was worlds removed from the sonorous harmonies from the Russians composers.