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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
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.