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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...
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...
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.