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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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. ...
RECITAL REVIEW
Concerts Grand / Sunday, February 27, 2011
Steven Spooner, piano

Steven Spooner Playing Liszt's 2nd Legend Feb. 27

PROGRAM CHANGES TRANSFORM SPOONER'S LISZT IN NEWMAN HALL RECITAL

by Terry McNeill
Sunday, February 27, 2011

Steven Spooner is a pianist of many musical surprises. In his Feb. 27 recital for Concerts Grand in SRJC’s Newman Auditorium, the Kansas University artist sharply changed the printed program, beginning with a work of his own. The unexpected changes made a good recital, on paper, into an exceptional experience.

That work of his own, a meandering “new age” Etude in the fashion of jazz artist Keith Jarrett, worked well to quiet an audience of 90 in the chilly hall. The tune “My Funny Valentine” was imbedded in the chromaticism, and clearly Mr. Spooner understands Mr. Jarrett’s poetic keyboard style.

Three Chopin works, also sans program notes, followed, beginning with the first Polonaise in C Sharp, Op. 26. This lyrical piece has a bold opening that recurs often and the pianist gave each repetition a different character. The same could be said of the playing of the youthful Mazurkas of Op. 7, the bagpipe trio of the Mazurka in F beautifully phrased. Mr. Spooner’s Chopin pianism featured subtle meter shifts and equally subtle colors, both central to an artistic Mazurka reading. His rubatos were many and old fashioned, a la Paderewski.

Finally deciding to play a programmed work, the pianist launched into the not popular but telling Haydn’s 48th Sonata in C, Hob. XIV/35. The two-movement Sonata received the pianist’s close attention to the improvisatory opening’s slowly-unfolding theme, and the closing second movement was effervescent with Haydn’s ubiquitous humor, clear scale playing and a catchy left-hand upward bass run that appeared twice. Wonderful music, expertly played.

The first half ended with the printed program’s ending for the second half, Liszt’s sweeping Second Legend (St. Francis Walking on the Waves), from 1863. This performance was radically different that Elenor Barcsak’s lyrical performance in Marin in 2010 and the Antonio Iturrioz performance in April of 2009 in Newman that was diminished by “luftpause” breaks in the long line. Mr. Spooner had the endurance to push the broken octaves in the left hand to maximum volume and the feeling of rolling waves was palpable. This is program music that demands a bravura technique, the religious ecstasy evident at the end when the pianist created the great saint on his cloak crossing the roaring ocean.

Another fascinating program change occupied the entire second half, Liszt’s B Minor Sonata. Santa Rosa has heard recent performances of this 1853 masterpiece from Hewitt, Bronfman, Margulis and most notably Garrick Ohlsson in 2007, and Mr. Spooner’s interpretation had a little from each, but the whole was entirely his own. His comments to the audience, always to the point and engrossing, cast the formidable 30-minute work as encompassing the composer’s deeply religious nature and thoughts of immortality. Mr. Spooner has a technique that is not naturally facile and I would suspect the glittering fast-speed octaves and orchestral chord playing are the result of long work and thought on the Sonata. The bucolic chorale sections interrupting surging parts of the single movement were a transfiguration, calling a listener’s attention to celestial space and repose. He was never in a hurry to get anywhere and his rhythmic mastery was complete.

At the original end of this extraordinary music odyssey a single fortissimo chord is heard , but Liszt altered the that score to add 32 more measures, gradually having them fading away to pianissimo. Mr. Spooner’s chordal weighting and pedal control was superb, the music sonorous but fleeting, and there was a ten-second hush beyond the final bottom B note (played neither staccato nor as a fermata).

If an encore was demanded, and it was, it had to be something diametrically opposed to the storms of the Legend and Sonata. Mr. Spooner presented Chopin’s “Farewell” Waltz in F Minor, Op. 69, No. 1. It was an understated performance, perfectly capturing the melancholy and nostalgia.

The reviewer is also the producer of the Concerts Grand series.