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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
RECITAL REVIEW
Concerts Grand / Sunday, October 24, 2010
Carolyn Steinbuck, piano

Carolyn Steinbuck Receiving Recital Applause at Mendocino College

STEINBUCK'S MASTERY DAMPENS RAINY DAY GLOOM IN LYRICAL UKIAH RECITAL

by Terry McNeill
Sunday, October 24, 2010

Schubert’s Piano Sonatas often receive a mixed audience reaction, despite their craftsmanship, sunny tunes and drama. When all the repeats are played, and sections morph into more sections, to some they can seem wandering and overly extended. But not to seasoned musicians, as the prolongation is a heavenly length.

It was this blessed length that pianist Carolyn Steinbuck found Oct. 24 in a Mendocino College recital, the second in the Concerts Grand season. Schubert’s A Major Sonata, D. 959, constituted the entire second half and received a careful and attentive reading, the opening Allegro solemn with controlled passagework. The development section had sharp contrasts and Ms. Steinbuck played off the forte dissonances. The concluding slow set of arpeggios at the end would stand comparison with Schnabel’s famous recording from the 1930s. Praise can go no higher. The second movement, Andantino, was played at the beginning as a barcarolle and then became improvisatory and moved to a stirring climax. This movement is difficult to bring off but the pianist did it well, often with half pedal effects.

The Scherzo was played in a properly playful manner, marred only by muddy scales passages. The concluding Rondo-Allegretto is indeed lengthy with many meandering themes, and the pianist tousled with the movement but never lost sight of Schubert’s “endless songful melody.” Anton Rubinstein called the composer “eternal sunshine in music” and Ms. Steinbuck found bountiful lyricism, managing the relentless modulations well and keeping the movement’s momentum intact. The agitation of the last few bars was forcefully achieved.

The concert opened with a surprise beginning work, Poulenc’s Toccata from Trois Pièces, and the pianist’s jazzy sforzandos and rapid repeated-note passages quickly opened the ears of the 71 in the College’s Choral Room. The playing conveyed the Poulenc’s restlessness and brilliance, the tonality never quite certain.

Debussy’s three “Estampes” came next, two musical imaginings of East Asia and Spain, and the “Jardins sous la Pluie,” a French garden in the rain that under Ms. Steinbuck’s masterly fingers and feet reflected the deluge going on outside the hall. “Soirée dans Granade”, a work with a habanera rhythm, was effectively played and the tempo not rushed, lacking only crisp articulation in the right-hand passages that exemplify the potent dance rhythms and tonal “growls” in the bass. Ms. Steinbuck’s deft pedal technique and gamelan effects made “Pagodes” seem exotic and almost luminescent.

Preceding intermission Beethoven’s A-Flat Major Sonata was performed, the noble opening theme played with restraint and in uniform tempo. In the Allegro molto the right-hand figurations in the central section were never hurried. In the concluding Fuga Ms. Steinbuck underscored the counterpoint and gave a structurally cogent version of the short aria that interrupts the increasing impetuousness of the fugue subject. At the finish, a descending and ascending phrase led to a single chord, with no fermata, widely spaced in the hands and of intense emotional power. It was playing of aristocratic temperament, doing full justice to Beethoven’s exalted vision.

One encore by the artist was offered, Piazzola’s “Song of the Angel.” It was a performance without the vitality of the Schubert but offering instead the saturated tango colors and languor characteristic of the Argentine master’s genius in small forms. The audience went back into the Ukiah rain in a peaceful mood.

The reviewer is the producer for the Concerts Grand recitals