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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
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