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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
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...
REVIEW

Pianist John Boyajy and Soprano Bryn Jimenez

SCHUBERT AND EXALTED MOZART IN NOVATO RECITAL

by Terry McNeill
Sunday, January 03, 2010

Marin pianist John Boyajy can’t be neutral about any important musical matter. He has passion and the ability to speak extensive words about that passion, and his excitement about Schubert, Bach and Mozart was everywhere in evidence in a duo recital with soprano Bryn Jimenez Jan. 3 in Novato’s All Saints Lutheran Church. Fifty-Five attended on a gloomy and cold day

Beginning with Schubert’s B-Flat Impromptu from Op. 142, Mr. Boyajy set the afternoon’s stage with a reading replete with chaste phrasing and balanced contrasts in the theme, five variations and coda. The non-professional church piano allowed a delicate treble pianissimo in the slow and dignified third variation but had a muddy bass section. Mr. Boyajy underscored the modulation leading to the final variation, his fast scales shimmering. The two chords of the coda were deftly played, the final one oddly broken.

Soprano Bryn Jimenez joined Mr. Boyajy in three Schubert songs to close the first half. Ms. Jimenez has a big and sometimes brash voice, not always suited to the nuance of Schubert lied, but possessing good German diction and ample drama. In “Ganymed” (D. 544) the long sustained notes were floated with care, and the piano’s ending resolution into the major was beautifully crafted. The “Gretchen at the Spinning Wheel” (D. 118) began with requisite rumbling repetitive piano chords, depicting the spinning process, and Ms. Jimenez’s vocal line flew effortlessly in the upper register. Here her lower staff richness became at times monochromatic, especially at high volume, but there was no lack of drama and pathos. The concluding “The Young Nun” (D. 828), a complex work from 1825 projecting an intense spiritual ecstasy, was sung with a beguiling mystery in the low voice and intrinsic histrionics. It was a gripping reading.

Bach’s C Minor Fantasia (S. 906) began the second half, in Mr. Boyajy’s capable hands. It’s a brilliant if short work, with large chromatic modulations. The pianist provided a performance that had aspects of Scarlatti’s sonatas, the turns and mordents directly stated and finger articulation and trills artfully executed.

Mozart’s solo motet “Exsultate Jubilate” (K. 165) closed the program and brought out the best singing of the afternoon. In the opening Allegro Ms. Jimenez chose a narrower vibrato than used in the Schubert songs, and Mr. Boyajy’s accompaniment was continuously forceful. The Larghetto begins with a recitative reminiscent of “The Marriage of Figaro” and was thoughtfully sung, the piano line subtlety played and modulating to the famous “alleluia” finale. Here Mozart asks a lot of the singer, the playful and happy text exploring a wide range of vocal color. Ms. Jimenez left nothing on the table, her powerful voice bringing the audience to its feet.

An encore was demanded and surprisingly Ms. Jimenez deferred to her partner, as Mr. Boyajy played Debussy’s “Doctor Gradus ad Parnassum” from the Children’s Corner Suite. The scales were fast and the legato balanced, perhaps the most virtuosic pianism of the concert.