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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
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.