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...
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint.
With the powerful pianist Orion Weiss in t...
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time.
Bach’s E m...
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro
from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler.
Tackling Mahler ‘s D Major Symphony (No. 1,...
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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.