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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
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.