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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...
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.