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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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 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