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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.