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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
RECITAL REVIEW
Concerts Grand / Sunday, April 03, 2011
Daniel Glover, pianist

Daniel Glover on San Rafael's J-B Piano Stage April 3

UNCONVENTIONAL REPERTOIRE FEATURED IN DANIEL GLOVER'S SAN RAFAEL PIANO RECITAL

by Terry McNeill
Sunday, April 03, 2011

San Francisco’s Daniel Glover arguably plays more concerts than any classical pianist residing in Northern California, and his wide repertoire of concertos and solo works are the envy of many musicians. San Rafael’s J-B Piano Emporium was fortunate to host Mr. Glover’s artistry April 3 and 35 music lovers heard an uncompromising program short on familiarity but long on intriguing music.

In the long awaited final recital of the eighth Concerts Grand season, Mr. Glover cast down a provocative gauntlet by beginning with Bartok’s Piano Suite, Op. 14, a four-movement piece that quickly wakes up indolent hearing. The first three sections are pointillist and at times a brash jester appears, finally giving way with the pianist’s touch to a leisurely conclusion and an inconclusive and dissonant halt.

Mr. Glover’s pianism is not at first hearing easy to embrace. He is not a colorist, shuns swooning rubatos and is far more the architect than the poet. These characteristics were apparent in his tackling of Tchaikovsky’s big Sonata in G Major, Op. 37, a work rarely played due to its encompassing scope and often hammering repetition of phrases. The last local public performance I can recall, in a great 1982 Davies Hall recital, was from the mercurial Shura Cherkassky. Mr. Glover is never mercurial, his interpretations being the result of conscientious thought, extended finger work in the studio and his innate curiosity. The bold proclamations of the opening march were perfectly captured in the pianist’s propulsive playing, Tchaikovsky’s debt to Schumann’s early piano music everywhere apparent. The Andante non troppo was chastely played, the lacy long arpeggios were both marcato and cantabile as indicated in the score. The pianist played this movement, as in the entire afternoon, without score. The repeated sixths cords at the end were softly beautiful.

Concluding the Sonata were a bight Scherzo, abetted by the unique treble timbre of the J-B stage piano, and a fast and bravura tour of the finale. This section reflects the declamatory character of the opening movement with syncopated chords and dashing runs in both hands, and Mr. Glover gave his fingers (and feet) full rein. In this last movement there was more playing of a vocal character but an absence of voice leading, an approach that would have lent breathing space to the headlong journey to the coda, preceded by nine clangorous chords in sforzando. Mr. Glover had his arms around this thorny piece and made a strong case for it, albeit with palpable apprehension in the audience. Perhaps an acquired taste for the assembly?

Following intermission Kodaly’s arcane 1907 Méditation sur un Motif de Claude Debussy was played, a richly impressionist work that sounded as if the pianist was improvising. It followed intriguing harmonic paths and Mr. Glover lavished loving care in the details, especially in the ruminative soft notes deep in the bass. A highlight of the afternoon and a rarified work for most in the hall.

Three reasonably familiar Liszt works were played, the first two from Volume One of the Années de Pèlerinage and one, Harmonies Du Soir, from the Transcendental Etudes of 1851 (revised version). Mr. Glover favored left-hand clarity in Au Lac du Wallenstadt and washes of sound in the Au Bord d’une Source. Both were admirable interpretations, convincingly slow in the first and lacking the last bit of charm and prismatic color in the second. The Etude, the 11th of 12 daunting studies, received a formidable performance. Mr. Glover’s running left-hand chords at forte carried throughout the hall and his deft control of soft passages was telling. Here and there sonic smudges appeared in the broken chords and the pianist wasn’t note perfect, but “Evening Harmonies” needs the shimmering repose that it received.

The formal recital ended with two rarely-played Liapunov works, Berceuse and Lesghinka. Both are from an Op. 11 set of Etudes d’exécution transcedante, the Berceuse airy and lyrical and disclosing playing from Mr. Glover removed from the presentation of previous compositions. In introductory remarks to the Lesghinka the pianist alluded to a comparison with Balakirev’s famously virtuosic Islamey and highlighted the Russian folk music derivation and how devilish the piece is to bring off in a live performance. He solidly nailed it, sparks flying with an arsenal of octaves, skips and rapid scales. It was Islamey “light” and compelling.

Two encores were offered, both surprising to the small throng that had previously heard mostly muscular music. Gershwin’s Second Prelude in C-Sharp Minor was followed by an early 1921 Copland work, “Jazzy” from the “Three Moods.” Both received a subtle “hip swinging” performance from Mr. Glover, his rhythms both intoxicating and languorous and his identification with the jazz elements persuasive.

A season-ending Champagne reception followed with ample time for the audience to play the store’s instruments and exchange commentary with an artist that treats every aspect of musical performance as a quest for honesty and esthetic truth.

The reviewer is the producer for the Concerts Grand series.