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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...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
RECITAL REVIEW
Sebastopol Center For The Arts / Friday, November 19, 2010
Jazmin Aliakbari and Carolyn Tewari, piano

Carolyn Tewari and Jasmin Aliakbari in Sebastopol Nov. 19

ALIAKBARI AND TEWARI SHINE IN SEBASTOPOL ARTS CENTER RECITAL

by Terry McNeill
Friday, November 19, 2010

Carolyn Tewari must be the most active performing pianist in Sonoma County. In addition to teaching, she has a full schedule playing in retirement homes, churches and concert halls, and has a penchant for music by women composers and partnerships with colleagues.

On November 19 she joined her duo partner of long standing, Jazmin Aliakbari, in a joint recital of eclectic music in the Sebastopol Center for the Performing Arts. The two women switched at the piano from primo to segundo with an enthusiastic audience of 40 watching every solo and four-hand alignment.

Jane Savage’s Duet, Op. 6, opened the program and was immediately forgettable. Glenn Gould referred to such compositions as “dictation music.” Debussy’s First Arabesque and Beethoven’s “Pathétique” Sonata, Op. 13, both performed by Ms. Tewari, were of course works of different merit. The Debussy featured a slow tempo with the stress on tonal color, the arching right-hand runs played with grace, and the legato triplets were stylishly rendered.

The Beethoven C Minor Sonata has been played in parts around the County by Ms. Tewari, and it was good that she finally tackled the entire work in a public hall. There was palpable momentum and drama in the playing, and left-hand tremolo passages had verve. Ms. Tewari was careful in the Adagio to keep one tempo throughout, and the concluding Rondo had perhaps the Sonata’s most concise playing, the long trill telling.

Poulenc’s Sonata for Four Hands closed the first half, Ms. Aliakbari joining in a clangorous change from the controlled pianism of the Beethoven. There was some unstable playing in the initial Prelude and beguiling juxtapositions of ruminative sound in the “Rustique” second movement. The counterpoint was clear in the finale, with lots of rumbling passages in the low bass and echoes of Poulenc’s large Concerto for Two Pianos. The last chord was held to considerable effect, the playing on balance the best in the first half.

Solo performance returned after intermission when Ms. Aliakbari played Bach’s Toccata in E Minor (S. 914), Chopin’s Third Ballade and the “Suite de Danzas Criollas,” Op. 15, of Ginastera. Though the Bach had good differentiation of voices, and the A-Flat Ballade featured clear right-hand scale passages, neither seemed a work that was yet fully the pianist’s own. The footing in each seemed unsure, the phrases hurried when repose was needed, the dense Bach fugal section lacking a concrete shape. The Ginastera work, from 1946 and similar in parts one and five to the earlier “Danzas Argentinas,” had an idiomatic reading from the pianist, the Creole style palpable and the clusters in the Allegro Rustico powerful indeed.

Four pieces from Grieg’s Peer Gynt Suite No. 1, Op. 46, concluded the formal program. The majestic nostalgia of “Morning Mood” and the singing treble line of the “In The Hall of the Mountain King” were salutary. No author of the transcription for piano four hands was listed.

A final charming work for both artists, the iconic “Tea For Two” from the 1925 Broadway show “No, No, Nanette,” was offered as an encore. It was a tuneful end to a pleasurable evening of rich solo and four-hand piano music.