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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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