Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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...
RECITAL REVIEW
Concerts Grand / Sunday, March 28, 2010
Zeynep Ucbasaran, Pianist

Zeynep Ucbasaran Receives Applause after Liszt's Grand Paraphrase

CHOPIN SCHERZOS FEATURED IN UCBASARAN RECITAL

by Terry McNeill
Sunday, March 28, 2010

Chopin’s bicentennial received another boost March 28 as pianist Zeynep Ucbasaran played a Newman Auditorium concert devoted mostly to the works of the great Polish master.

In the penultimate series recital in the seventh Concerts Grand season, Ms. Ucbasaran presented a program built around three of the Scherzos, with bookends of Adnan Saygun’s Aksak Studies one through five, and a Liszt paraphrase. The richly chromatic Polonaise-Fantaisie, Op. 61, from late in Chopin’s short life, was added to the mix, replacing several short works and the “Heroic” Polonaise. Scherzo is defined as a musical joke, but Chopin’s four are hardly that. Each (the popular B-Flat, No. 2, was omitted) contains virtuosic writing with cascades of notes, many repeats and lots of fortissimo.

In the first Scherzo in B Minor, Op. 20, Ms. Ucbasaran underlined the work’s restless nature, making the theme on the contrasting lyric section more pronounced. The C-Sharp Minor (No. 3) opened with the requisite presto con fuoco tempo and a lovely the chorale-like melody in D Flat. The spray of leggierissimo arpeggios were played well, if a bit repetitiously and often too quickly. The final Scherzo in E Major, Op. 54, was played with a deliberate tempo and found the pianist being taxed technically and without a big sound, though Ms. Ucbasaran gave the vocal piu lento section a languorous and nostalgic reading.

In the A Flat Polonaise-Fantaisie the music became under the artist’s fingers a small tone poem, the opening chords creating sufficient mystery to give the impression of continuous organic growth of the themes. The loose formal structure of this unique work makes it difficult to hold together, but Ms. Ucbasaran had all under control. The three sets of trills in both hands during the middle of the Polonaise were crystal clear.

Turkish composer Saygun’s Aksak sketches began the concert, music as unfamiliar to the 80 attending as it was well received. As a compatriot of the composer, Ms. Ucbasaran plays these works (from 1969) with special flair and rhythmic excitement, and has recorded them. The piquant sonorities were refreshing and the tempos were relaxed and the phrasing elegant.

At the end of Liszt’s touring career he found himself in Istanbul, and after hearing a theme from Donizetti’s brother (the composer in residence) he wrote a Grand Paraphrase de la Marche de Giuseppe Donizetti, and dedicated it to Sultan Abdul-Medjid Kahn. Surely a premiere performance in the North Bay, Ms. Ucbasaran gave the tough repeated notes and swirls of sound a fast ride. But it’s bottom-drawer Liszt, not comparable to the great operatic paraphrases of Verdi, Bellini, Wagner and Mozart. It was good to hear a novelty, but the music faded quickly after the pianist took bows to loud applause.

Two encores were offered, beginning with Chopin’s delicate triplet finger study in the Etude in F Minor, Op. 25, No. 2. The second was 20 measures from ending of the Third Scherzo, a strange abbreviation with yet more fleet and strident notes.

The reviewer is the producer of the Concerts Grand series.