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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Concerts Grand / Sunday, October 17, 2010
Sara Daneshpour, piano

Sara Daneshpour Receiving Applause Following Prokofiev's Toccata

DANESHPOUR'S VIRTUOSITY WOWS AUDIENCE IN CONCERTS GRAND SEASON OPENER

by Terry McNeill
Sunday, October 17, 2010

Sara Daneshpour’s Oct. 17 recital launching the 8th Concerts Grand season began with what might be called anxious anticipation from the audience in SRJC’s Newman Auditorium. The program contained mostly brawny virtuoso works, and the first appearance of the petite pianist brought to many minds the thought that musical demands could trump the young artist’s abilities. At the recital’s end, no one in the hall had any such doubts. Big things do come in small packages.

Haydn’s F Major Sonata (Hob XVI/23) began the program and Daneshpour’s supple and commanding technique was immediately put on display, the Moderato architecturally constructed and the finger staccato and pearly scales telling. The center of the piece is the captivating Adagio and here the pianist lavished chaste phrasing, underscoring the pensive character of the music. The concluding Presto was an aggressive romp, never pounded and the quiet sections under complete control. It’s difficult to play really fast and piano but this pianist does it easily.

Liszt “Rigoletto” transcription followed, a vocal tour de force from the famous quartet of Verdi’s 1859 opera. Here the playing became outsized, the thematic projection broad and often thunderous. Ms. Daneshpour took her time in the early declamatory parts and slowed gently before the three sets of descending octaves at the end, the effect bringing many in the audience of 90 to standing applause. The pianist wasn’t limited to just playing running octaves, as she commanded rarely-heard legato octaves just prior to the coda. Jorge Bolet's recording comes to mind.

Brahms’ forceful Paganini Variations from Book II concluded the first half in a blaze of jagged and impressive virtuosity. The 14 short variations demand a consummate technique from any executant, and Ms. Daneshpour played each with mastery. Musically her playing generated several lovely inner voices (third variation) and awe-inspiring accuracy with the treacherous right-hand skips. It wasn’t a note-perfect reading, and the piano sound could be “clattering” at times, but such trivial shortcomings vanished in the grandeur of the performance. A formidable mountain of music, prodigiously climbed. A standing ovation was the artist’s reward.

Honoring the Schumann bicentennial, The Op. 1 “Abegg” Variations opened the second half, three variations and a brilliant finale. Here even and fast scale passages are the norm and they were played with a deft touch, the tempos fast and the cross-hand technique infallible. Rachmaninoff’s richly-scored Variations on a Theme of Corelli, Op. 42, came next and Ms. Daneshpour lavished the most color of the afternoon on haunting 20 variations from 1932. The stately theme foretold a journey of many and varied stanzas, the textures luxuriant but spiced with dissonances uncommon in Rachmaninoff’s music. Ms. Daneshpour’s playing here turned orchestral, variations five through seven positively sparkling. Her touch changed with each new section and she never seemed to be in a hurry. The playing had mystery, even when she used two fingers to hammer bass notes until the piano fairly screamed, and once she had four fingers on a single key.

Prokofiev’s perpetual motion Op. 11 Toccata concluded the program, just over four minutes of driving rhythms and high-volume repeated notes, played like a machine. Of course the performance brought down the house, but surprisingly didn’t elicit the expect encore.

Prior to the formal program Ms. Daneshpour honored the memory of two Concerts Grand patrons that recently died, Jim Burns and Ron Antonioli, with a sensitive and appropriately sad performance of the Scriabin Prelude in C Sharp, Op. 9, for the left hand. The emotional effect was palpable.

The reviewer is the producer of the Concerts Grand series