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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
POWERHOUSE TANEYEV QUARTET IN TRIO NAVARRO CONCERT
by Sonia Tubridy
Sunday, February 18, 2018
Now in their 26th year of presenting chamber music as artists in residence at Sonoma State University, members of the Navarro Trio have performed, over the years, piano trios both famous and rarely performed, including many contemporary works. Mozart’s Piano Quartet in G Minor, K. 478 opened the Fe...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
RECITAL REVIEW
Thursday Music Club / Thursday, April 15, 2010
Elenor Barcsak, Piano

Elenor Barcsak Receiving Applause April 15 in Marin

BARCSAK PLAYS A RARE CRAMER SONATA BEFORE ELEGANT CHOPIN MAZURKAS

by Terry McNeill
Thursday, April 15, 2010

Pianist Elenor Barcsak has consistently been in the forefront of Marin musical life as a teacher, MTA branch President, supporter of manifold causes and a chamber music player, but seldom finds time to mount a solo recital. April 15 found her accepting the soloist’s role in Terra Linda’s Christ Presbyterian Church, performing a recital of some unfamiliar music and some Chopin gems.

Sponsored by the Thursday Marin Musical Club, the concert’s first half featured unfamiliar music of Franck, Cramer and Donizetti. And music from J. B. Cramer, in this case the E-Flat sonata, Op. 30, No. 3, is also from a composer that is long forgotten. The music is effective without being memorable, lacking the rhythmic interest of similar works from Clementi and Dussek. The middle Allegretto non troppo movement, although short, was played with a joyful nature and deft cross-handed articulation.

The Cramer followed Harold Bauer’s transcription of Franck’s Prelude, Op. 18, originally one of six pieces for organ written in 1868, and the first part of a fugue and variations. It’s a shimmering if repetitive composition, nostalgic at every turn, and Ms. Barcsak never allowed the tempi to slack into sentimentality.

Donizetti’s famous “Sextette” from Lucia di Lammermoor concluded the first half, but not in the familiar virtuoso version by Liszt. Here it was just for the left hand, in a Leschetizky transcription, and was surely a premiere for North Bay audiences. It is effective, the contrapuntal lines vying with the well-known theme. However, though I kept yearning for the big sound of the Liszt work, it was good to hear this music from a fresh perspective.

Everything in the second half was eminently familiar, and mostly Chopin. Four Mazurkas (Op. 17, No. 2, Op. 7, No. 4, Op. 59, No. 2, and Op. 50, No. 3) were perhaps the most successfully played works of the afternoon, as Ms. Barcsak subtlely varied the repeats in the first Mazurka and found flourishes of chromatic harmony and a delicate change from major to minor in the Coda of the A-Flat Mazurka of Op. 59. The masterful C-Sharp Mazurka of Op. 50 was played with the contrapuntal opening and closing highlighted, and a captivating ending with a dose of suspense.

Two Etudes followed, the A-Flat Major from “Trois Nouvelles Études” a lovely journey of the left-hand accompaniment of two against three and Ms. Barcsak emphasizing the melody in the top note of the right-hand chords. In the demanding first study in C Major, Op. 10, No. 1, played without score as was the concluding Liszt work, Ms. Barcsak made the most of long lines with the damper pedal supporting a rich bass octave melody.

Tackling the formidable Liszt Second Legend, “St. Francis Walking on the Waves,” the pianist had the needed endurance for playing the broken left-hand octaves and mounted enough bravura to bring the packed church audience to its feet at the final ecstatic chords. Ms. Barcsak clearly has a penchant for Liszt and the performance was carefully planned and displayed the needed musical abandon during the long ascending phrases depicting the Saint’s triumph over earthly barriers.

Ms. Barcsak, Marin’s complete musician, mounted a recital replete with uncommon music and elegant artistry.