Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
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...
Opera
'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...
Recital
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' ...
Chamber
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...
RECITAL REVIEW
Concerts Grand / Sunday, November 15, 2009
Richard Cionco, Pianist

Pianist Richard Cionco in Newman

HAVE PIANO, WILL TRAVEL

by Terry McNeill
Sunday, November 15, 2009

Sacramento State’s Richard Cionco followed a string of CSU faculty pianists into the Concerts Grand recital series Nov. 15, playing a concert that featured eclectic music rarely heard in the North Bay. Mr. Cionco’s breezy stage presence and audience repartee belied the complexity of the music, and he consistently delivered the goods to a small group in SRJC’s Newman Auditorium

The cornerstone of the recital was the 28-minute “American Variations” by New York composer Sunny Knable, in its North Bay premiere. Comprising at least 16 individual sections with such picturesque titles as “Scherzo Sarcastigue” and “Old Cotton Picker,” the work requires a formidable finger technique with numerous hand crossings, violent sforzandos and even a sporadic tone cluster. The theme, with echoes of Foster, Gottschalk and Copland, was surprisingly composed Mr. Knable himself. Using sheet music, Mr. Cionco met all the demands with aplomb, the concluding “Jig” ripping up and down the keyboard to everyone’s delight. And clearly the performer was pleased, with many loud “bravos” underscoring his accomplishment.

Prior to his triumph with Knable, Mr. Cionco opened with the four-part Villa Lobos Bachiana Brasiliera, No. 4, part of a suite of nine works composed between 1930 and 1942 and fusing Brazilian popular music with the styles of Bach. In Mr. Cionco’s hands the improvisatory element was stressed, but in no way suppressing the often raucous nature of Preludio or the concluding Danza.

The short second half began with the stark and compact “Sancta Dorothea” (S. 187) of Liszt. Written nine years before Liszt died, the work combines religious asceticism and palpable humility. Mr. Cionco chose a tempo far faster than other pianists (albeit few) adopt, stressing the elegant melody with rippling left-hand triplet figures. The brevity prevented pondering the sweet lyricism, and perhaps a small bit of the late Liszt “resignation” was lost in the interpretation.

Not so for three of Chopin’s noble Mazurkas. The A Minor, Op. 17, No. 4, a Horowitz favorite, was played sublimely and caught the wistful nature behind nearly all of the Mazurkas, irrespective of the sometime strident rhythms. Op. 24, No. 2 followed, and the final Mazurka from Op. 33 (No. 2) had the requisite rustic flavor and a deft portrayal of the strong character and simple harmony. There is joy tinged with Polish sadness in the Mazurkas. Mr. Cionco addressed each with pianist mastery and an approach that made them sound fresh.

The popular “Danzas Argentinas” (Op. 2) of Ginastera concluded the program, preceded by illuminating remarks from the pianist. It was the third performance of the 1937 composition in the last two years for Concerts Grand, and probably the most successful, especially with the bookends “Danza del Viejo boyero” and “Danza del gaucho matrero.” Here the control was complete, virtuosic and, in the final dance, menacing. The middle movement “Danza de la moza donosa” was languorous and fetching.

Mr. Cionco offered one encore, a Rachmaninoff “Moment Musicaux” in E Flat from Op. 16.

The reviewer is the Producer of the Concerts Grand recitals. H. G. Jim Burns contributed to the review.