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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
Concerts Grand / Sunday, March 20, 2011
Evgeni Mikhailov, piano

Marin Pianist Joan Weinstein Greets Evgeni Mikhailov March 20

DRAMATIC 19TH CENTURY RUSSIAN WORKS HIGHLIGHT MIKHAILOV'S IMPOSING SRJC RECITAL

by Terry McNeill
Sunday, March 20, 2011

Dark and rainy skies parted March 20 at Santa Rosa Junior College for Concerts Grand’s last recital of the Santa Rosa season. However, the sun and warmth quickly brought a new and musical storm into the area, Russian pianist Evgeni Mikhailov’s virtuosity presiding through the works of Chopin, Schumann, Tchaikovsky and Mussorgsky.

Before 101 pianophiles in the small Newman Auditorium Mr. Mikhailov, having just ended a 25-concert American tour playing three concertos with a Polish orchestra, changed the printed program and began with five Chopin Preludes from Op. 28, surprisingly juxtaposing the opening C Major with Preludes 20 through 24. Here he set the stage for the entire concert, the playing outsized and with the C major an agitated and restlessness conception was established. The massive and majestic chords of the C Minor (No. 20) dissolved into a tranquil calm, and the G Minor Prelude was played with bravura in the left-hand octave solo. The D Minor was angry and defiant but from my seat I could not see if the artist changed fingers on the final fortissimo repeated notes in the bass. Each had substantial heft and asymmetrical timing.

Schumann’s lovely Scenes from Childhood (Kinderscenen), Op. 15, followed and was a reading that evoked memories of the Valentina Lisitsa performance from 2009 from the same stage. Here there were many deft touches, such as the long decresendo at the end of the Wichteige Begebenheit section and the elegant articulation in Fast zu Ernst. The well-known Träumerei and “The Poet Speaks” parts were not hurried, Schumann’s backward look at his youth in a small German town palpable. The Ukrainian Lisitsa would have been moved by the Kazan artist’s transversal of this fresh and memorable score.

Completing the first half was Mikhail Pletnev’s popular transcription of the Suite from Tchaikovsky’s Ballet “Nutcracker," laat played in Santa Rosa in 2009 by the youthful Armenian charmer Nareh Arghamanyan. Ms. Arghamanyan’s interpretation was diffuse and poetic and Mr. Mikhailov’s was red hot and impulsive. The insistent Tchaikovsky themes in the 17-minute composition were everywhere evident and the pianist opted for the difficult to accomplish combination of sonority and clarity. His damper pedal control here was impressive and the evocative bells of the second section were delicate and richly hued. The pianistic skips in the “Tarantelle” and the extended arpeggios in the “Intermezzo” spun out a noble theme, ending quietly with just a touch of right-hand flourish. There was sudden audience applause at the conclusion of the “Trepek”, a rare occurrence in a solo piano work, and striking contrapuntal figures in the Andante maestoso, the work’s longest section.

It was a scenic and convincing interpretation, and brought the hall to its feet in applause.

Mussorgsky’s monumental Pictures at an Exhibition comprised the entire second half, a ten-section recreation of paintings of one Viktor Hartman that the composer had seen in St. Petersburg in 1874. It’s a landmark of 19th century pianism, played last here thirty years ago by French pianist John Philippe Collard. Mr. Mikhailov began the opening soforzandos rather fast with an insistent ostinato left hand and some unique inner voices that never covered the main melody. His right hand repeated chords and expressive trills were fluently played throughout, and the Great Bogatyar Gate of Kiev had a brawny outline as well as resounding power and, yes, a lot of loudness. In difficult hand positions Mr. Mikhailov was able to maintain both the work’s required momentum and the return to the “Prominade” and a forceful second theme based on Russian chant. The pianist played the ending left-hand tremolos sonorously.

With ravenous applause a quiet encore was called for but Mr. Mikhailov was clearly not ready for bagatelles, and thundered a controlled performance of Rachmaninoff’s D Major Etude Tableaux, Op. 33, No. 9. It was a courageous choice, noble in it power and drama.

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