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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.