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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
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