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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
RECITAL REVIEW
Mendocino Music Festival / Sunday, July 11, 2010
Paul Roberts, piano

Pianist Paul Roberts in Preston Hall July 11

ROBERTS PLAYS UNEVEN RECITAL AT MENDOCINO FESTIVAL

by Terry McNeill
Sunday, July 11, 2010

British pianist Paul Roberts played a recital in two disparate parts July 11 in Mendocino Music Festival’s piano series in Preston Hall.

Before 65 people Mr. Roberts planned the initial part around music of Ravel and Liszt, each with extensive descriptive titles. The pieces were preceded by a lengthy verbal introductions, set out in Mr. Roberts’ unique blend of historical description, philosophy, musical analysis and a sporadic dash of gossip. The pianist is a superb speaker, witty and at all times pithy and instructive. It’s refreshing to hear the English language fashioned so well. At times one wished for more piano playing and less education, but it’s a summer festival and the speaker knows the territory.

What the artist didn’t do well, at least until the intermission, is to play the piano at a high level. In Liszt’s “Au Lack Du Wallenstadt” the chosen tempo, as throughout the afternoon, was fine but the piano sound was muffled, the left hand indistinct under the simple melody. The same composer’s “Au bord d’une source” was heavily pedaled with a heavy touch and the line was broken by an extended pause. Aural memories came back to a Horowitz performance in Carnegie Hall of the same piece, awash with a shimmer of sound and delicate phrasing and half pedal. Shura Cherkassky’s rendition was also inimitable.

Ravel’s “Jeux d’eau” received a more idiomatic reading with fluid arpeggios and a “watery” cadenza. Two more Liszt works followed, the Sonetto del Petrarca No. 123 and the revised version of “Les Cloches de Genève.” Played from score, the former featured a modest tempo and even but slow trills, the melodic line imaginatively played and the final note lingering and almost inaudible. The faster parts of “Cloches” strained the pianist’s technique, the imperfect pedaling enhancing the overy loud statement of the second theme. These “bells” had neither the tenderness at the opening nor heroism in the octave passages.

Often in the first half playing above forte produced a harsh tone and a less-than-polished conception, but with Debussy everything changed. Here Mr. Roberts was in his element. He recently authored an acclaimed biography of the composer, but that’s no insurance that he can play in Debussy the layers of refined sound with unusual pedal effects at a virtuoso level. Worry not, as the Roberts conception of the French master’s music was an ideal combination of head and heart. Beginning with “L’isle joyeuse” and finishing with the iconic “Children’s Corner” Suite, all was in harmonious order. The piano tone became more richly hued, the digital command more secure. “Gradus ad Parnassum” built to a toccata conclusion, the accelerando at the end forceful but without harshness. The set unfolded in a masterly way, each of the six pieces fashioned with long study and a sure touch. I particularly liked the inner voices and accurate skips from “Jimbo’s Lullaby” and the repose and syncopated jazz harmonies of “Golliwog’s Cake-Walk.”

Two additional Debussy works were offered, the short and mysterious “Canope” and “Les collines d’Anacapri.” The latter is from the first book of Preludes (1910) and the folk like material was performed with a lively and bright palette. Debussy has a consummate interpreter in Paul Roberts.

No encore was offered.