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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
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.