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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.