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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
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...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
RECITAL REVIEW
Ukiah Community Concert Association / Sunday, October 03, 2010
Gwhyneth Chan, piano

Pianist Gwhyneth Chen in Ukiah

VOLCANIC TRANSCRIPTIONS AND DELIBERATE NOCTURNES HIGHLIGHT UKIAH RECITAL

by Terry McNeill
Sunday, October 03, 2010

An appreciative audience greeted Gwhyneth Chen Oct. 3 when the pianist launched the Ukiah Community Concerts Association’s new season. And the artist’s mood, mostly lyrical and relaxed, seemed to match that of the audience of 225 that crowded the New Life Community Church.

The program contained five Chopin Nocturnes, including the E-Flat as an encore, and in the initial Op. 32 works a recital-long pattern emerged. Ms. Chen possesses a lovely touch, deft control of cantilena, variation in the repeated sections, crystalline scale playing and trills that are even and subtle. However, the tempos throughout the concert were deliberate, which mostly worked and occasionally did not. In the mid section of the Op. 32, No. 2, she was able to keep the melodic line going in the outer fingers while playing accompanying chords in the same hand. The last big repeat was played piano, the effect lovely and benefiting from a studied voice leading.

Chopin’s Fourth Scherzo in E, Op. 54, followed and again was a case study in lovely scale playing, dropped notes in the coda notwithstanding. It was a slow and dreamy conception of a joyous work, lacking perhaps only the last bit of drama. The lyrical mid section in C Sharp was a delicate waltz, half pedaled.

The first half concluded with the Schulz-Evler transcription of Strauss’ Blue Danube, a recital showpiece made famous by the incomparable Lhevinne recording of 1930, and by Bolet’s Carnegie Hall recital record of 1974. There is some controversy that the mysterious Schulz-Evler didn’t write the work at all, and Moszkowski did. In any case, here the three-note introduction was played ever so slowly but raised the anticipation level for the entrance of the immortal Viennese theme. Ms. Chen’s tonal palate became strident when she pushed the sound, lacking the color of the Nocturnes, but it’s that kind of piece. In the powerful final upward run, the pianist took the brief “hiccup” in the middle, as does Lhevinne but not Bolet.

Two Chopin Nocturnes from Op. 37 opened the second half, again ones not often played. The legato playing in the choral-like passages of the G Minor was elegant, some I think played with the sostenuto pedal. The G Major work, from 1839, became a captivating barcarolle in Ms. Chen’s hands, with a rocking bass and rich hues in the treble. The Association’s piano, with a new action, had substantial sustain in the treble and Ms. Chen made full use of the tonal “bloom,” quiet notes reaching easily to the far back of the spacious hall. On balance, her slow tempos derailed the long line and the music began to wander, though it was a conception in every way to admire.

An early Chopin work, the Op. 2 “La Ci Darem La Mano” Variations, came next and though not a profound work from the Polish master, was good to hear in concert. The filigree playing was estimable, interrupted by dramatic sforzandos and Ms. Chen’s remarkable scales in both hands. The big four march-like bridge passes lent structure to this sprawling composition. It was Chopin’s Paris calling card and a favorite for the Ukiah audience.

Vladimir Horowitz’ Carmen Variations closed the concert with an aural cascade of notes at high volume and speed, handled well by Ms. Chen. Composed originally in the 1920s and altered over the years, the work takes a gypsy dance from Bizet’s last opera and contains a large array of virtuoso technical demands, including the diabolical interlocking octaves in the coda. It was brought off with panache and insouciance, rolling to a powerful ending and a standing ovation.

The one encore, Chopin’s Op. 9, No. 2 Nocturne, was played with consummate grace, lush colors and at a languorous tempo.