Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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.