Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
REVIEW

Pianist John Bayajy at his Pt. Reyes Recital March 27

SONOROUS BACH TRANSCRIPTION HIGHLIGHTS BOYAJY'S DANCE PALACE RECITAL

by Terry McNeill
Sunday, March 27, 2011

Marin Pianist John Boyajy’s concerts are never conventional. His usual mix of extended verbal introduction and musical performance can be unsettling if the balance isn’t right. In a Point Reyes Station recital at the Dance Palace March 27 all was in equilibrium, the music sparkling and the commentary persuasive and enlightening.

Before and audience of 90 on a wet and blustery afternoon the program began with Beethoven’s “Pastoral” Sonata in D, Op. 28, an innovative work from 1801. Playing from score as he did the entire concert, Mr. Boyajy choose judicious tempos coupled with an aggressive approach, his scale passages clear and rippling. In the long and convoluted Andante he caught the movement’s humor, and the Scherzo was engaging.

In the finale (Rondo) the pianist played the sweeping arpeggiated passages and syncopated rhythms with élan, the middle section forceful and sometimes a bit loud. The composer’s endless inventiveness led to several deceptive closing cadences and Mr. Boyajy held the music back at times, clarifying the bucolic nature with ample ritards at bars 123 and 192. In all, a muscular and well thought out interpretation.

Four Liszt works followed, the Soirées de Vienne No. 6 being added to the program and introduced in a theatrical but prescient analysis by the artist. The Sonetto Del Petrarca 104, from the second book of the Années de Pèlerinage, began the set with the pianist providing a muscular and declamatory reading. The left hand chordal playing was distinct and the romantic fervor of the work clearly conveyed. In several places small hesitations interrupted the musical line, not caught by the damper pedal.

Late in his life Liszt wrote four works with the title Valse Oubliée, and before intermission Mr. Boyajy selected the first. His pianism provided the necessary charm but the performance was not wholly successful, as the waltz needed a lighter touch in the fast sections.

The sixth Soirée came after intermission, one of nine transcriptions Liszt made of Schubert waltzes. These are “mit schlag” works and the sixth was a favorite of Rosenthal and Horowitz. Here Mr. Boyajy pushed the sound, his deft left hand never overplaying the “om pa pa” rhythms. Another piece from the Italian book of travels, Sposalizio, closed the Liszt group and was characterized by playing of high drama. The pianist favored drawn-out ritards and strongly accented eight bass notes, bringing the right hand into sharp relief. The forte passages were vehement and bordered at times in stridency, perhaps contributed to by the piano’s treble and the flat wood floor in the hall.

Bach’s Chaconne (BWV 1004), the concluding movement in the D Minor Sonata for solo violin, is a pinnacle of violin performance and has been transcribed by composers as disparate as Raff, Siloti, Brahms, Busoni, Hamelin and the conductor Leopold Stokowski. Mr. Boyajy has melded both the Busoni and Siloti versions into a 15-minute work of monumental power, albeit with several of his own additions, and the Pt. Reyes performance was presumably a premiere of sorts. For me it was the highlight of the afternoon, an odyssey of rich sound that in the upper reaches of the piano reflected certain registers of the organ. The pianist was in no hurry throughout, the slow running octave passages in both hands always pungent and the phrasing graceful. The recitative sections were played with welcome surcease to the orchestral sonorities, and here and there an inner voice was emphasized. Surprisingly, the massive final chord was followed with three decidedly unmassive single notes. Were these Mr. Boyajy’s benediction for the triumphant journey?

A standing ovation greeted the Chaconne’s singular accomplishment, but no encore was offered.