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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
Concerts Grand / Sunday, February 06, 2011
Ryan MacEvoy McCullough, piano

Pianist Ryan MacEvoy McCullough at Mendocino College Feb. 6

MUSCULAR DE SILVA AND BEETHOVEN PERFORMANCES HIGHLIGHT MCCULLOUGH RECITAL

by Terry McNeill
Sunday, February 06, 2011

Piano recitals often split into two parts, the ostensibly profound scores first and after intermission lighter fare is played. Ryan MacEvoy McCullough’s Feb. 6 recital at Mendocino College unfolded in a different way, the blockbuster works appearing just at intermission and during the entire second half.

Produced by Concerts Grand and luring 35 people away from Super Bowl television sets, the concert began with the slowest performance imaginable of Liszt’s imaginative Sonetto Del Petrarca 123, the left hand figurations distinct and underscoring the work’s lyrical nature. In several places the musical line almost was broken, but just almost. A seldom programmed Etude Tableaux from Rachmaninoff’s Op. 33 followed, its rich harmonies and sleigh bells effect carefully brought out by the pianist.

Less convincing were Chopin’s Mazurkas from Op. 33, and Mr. McCullough seemed to push the sound, especially in the rustic D Major, at the expense of the subtle rhythmic flexibility that characterizes these small masterpieces. The short C Major lacked the metrical “bounce” that Cortot and Friedman bring to the Mazurkas, and in the long B Minor Mazurka the pianist opted for a big sound rather than the pieces’ elusive languor.

Los Angeles-based composer Dante de Silva is a colleague of Mr. McCullough and three of the 35-year old composer’s works were offered. There were an eclectic mix, the first (“Shiburi”) written as a memorial to the late Humboldt County pianist Deborah Clasquin. Its slow wandering motive over four minutes didn’t lead to any concrete conclusions, and the amorphous “Padua” from the “Drive Through Etudes” (2006) was equally unappealing.

Closing the first half was Mr. De Silva’s nervous and pontilistic Piano Sonata No. 1 (“Arcata”), brilliantly played by Mr. McCullough. The episodic Moderato ritimico first movement featured repeated staccato chords in the treble, sections leaping all over like jumping beans. The arpeggios in the poetic middle section were elegant. Mr. McCullough’s attention to detail was everywhere evident in the middle movement, phrases overlapping with the pedal and small cascades of notes in the left hand telling. Bird call effects ended this haunting Largo.

In his spoken notes to the audience the pianist said the finale had a calypso character but if it was there, it was for me lost in the pulsating toccata movement, rhythmic power clearly the goal. Mr. McCullough’s technique was equal to the arduous task, his close hand positions and crossovers going by at high speed. Two forte bass notes announced the coda and the pianist drove everything into a whirlwind conclusion. He identifies with this music and made a compelling case for it.

Beethoven’s final Sonata in C Minor, Op. 111, occupied the program’s last half and received a reading full of dramatic effects and deep feeling. This monumental work was long ago thought to be reserved for pianists of extended years, but Mr. McCullough’s conception easily contradicted this belief. It was a muscular performance, the fugal section almost raucous in places. A deep and overly loud left hand C major chord led through a long pause to the Arietta, one of Beethoven’s greatest creations. The pianist kept an even tempo through the variations and the long strings of trills were played with a deft rise and fall. Mr. McCullough is a modern pianist and the repeats were always played the same. The composer and interpreter delivered peace in this sublime composition.

At the stately three-bar conclusion, the tones dying away, the audience seemed mesmerized and there was no sound in the room for 12 seconds. A standing ovation erupted but no encore was offered.

The reviewer is the producer of the Concerts Grand series.